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Information 



When you need repair service, call your nearest Roland Service Center or authorized Roland 
distributor in your country as shown below. 



GENERAL f^ 

miDi2 



(Africa) 

EGYPT 

Al Fanny Trading Office 

9, EBN Hagar Al Askalany 

Street, 

ARD El Golf, Heliopolis, 

Cairo 11341, EGYPT 

TEL: 20-2-417-1828 

REUNION 

Maison FO - YAM Marcel 

25 Rue Jules Hermann, 
Cliaudron-BP79 97 491 
Ste Clotilde Cedex, 
REUNION ISLAND 
TEL: (0262) 218-429 

SOUTH AFRICA 

That Other Music Shop(PrY)Ltd. 

11 Melle St., Braamfontein, 
Johannesbourg, 
SOUTH AFRICA 
TEL: (Oil) 403 4105 
FAX: (Oil) 403 1234 

Paul Bothner(PTY)Lld. 

Royal Cape Park, Unit 24 
Londonderry Road, Ottery 7800 
Cape Town, SOUTH AFRICA 
TEL: (021) 799 4900 



(asia) 



CHINA 

Roland Shanghai Electronics 
Co.,Ltd. 

5F. No.1500 Pingliang Road 
Shanghai 200090, CHINA 
TEL: (021) 5580-0800 

Roland Shanghai Electronics 

Co.,Ltd. 

(BEIJING OFFICE) 

lOF. No.18 3 Section Anhuaxili 
Chaoyang District Beijing 
100011 CHINA 
TEL: (010) 6426-5050 

Roland Shanghai Electronics 

Co.,Ltd. 

(GUANGZHOU OFFICE) 

2/F., No.30 Si You Nan Er Jie 
Yi Xiang, Wu Yang Xin Cheng, 
Guangzhou 510600, CHINA 
TEL: (020) 8736-0428 

HONG KONG 

Tom Lee Music Co., Ltd. 
Service Division 

22-32 Pun Shan Street, Tsuen 
Wan, New Territories, 
HONG KONG 
TEL: 2415 0911 

Parsons Music Ltd. 

8th Floor, Railway Plaza, 39 
Chatham Road South, T.S.T, 
Kowloon, HONG KONG 
TEL: 2333 1863 

INDIA 

Rivera Digitec (India) Pvt. Ltd. 

409, Nirman Kendra 
Mahalaxmi Flats Compound 
Off. Dr. Edwin Moses Road, 
Mumbai-400011, INDIA 
TEL: (022) 2493 9051 

INDONESIA 

FT Citra IntiRama 

Jl. Cideng Timur No. 15J-150 
Jakarta Pusat 
INDONESIA 

TEL: (021) 6324170 

KOREA 

Cosmos Corporation 

1461-9, Seocho-Dong, 
Seocho Ku, Seoul, KOREA 
TEL: (02) 3486-8855 

MALAYSIA 

Roland Asia Pacific Sdn. Bhd. 

45-1, Block C2, Jalan PJU 1/39, 
Dataran Prima, 47301 Petaling 
Jaya, Selangor, MALAYSIA 
TEL: (03) 7805-3263 



PHILIPPINES 

G.A. Yupangco & Co. Inc. 

339 Gil J. Puyat Avenue 
Makati, Metro Manila 1200, 
PHILIPPINES 
TEL: (02) 899 9801 

SINGAPORE 

SWEE LEE MUSIC 
COMPANY PTE. LTD. 

150 Sims Drive, 
SINGAPORE 387381 
TEL: 6846-3676 

TAIWAN 

ROLAND TAIWAN 
ENTERPRISE CO., LTD. 

Room 5, 9fl. No. 112 Chung 
Shan N.Road Sec.2, Taipei, 
TAIWAN, R.O.C. 
TEL: (02) 2561 3339 

THAILAND 

Theera Music Co. , Ltd. 

330 Soi Verng NakomKasem, 
New Road, Sumpantawongse, 
Bangkok 10100, THAILAND 
TEL: (02) 224-8821 

VIETNAM 

SAIGON MUSIC 

DISTRIBUTOR 

(TAN DINK MUSIC) 

138 Tran Quang Khai Street 

Dist. 1, Ho Chi Minh City 

VIETNAM 

TEL: (08) 848-4068 



AUSTRALIA/ 
NEW ZEALAND 



AUSTRALIA/ 
NEW ZEALAND 

Roland Corporation 
Australia Pty.,Ltd. 

38 Campbell Avenue 
Dee Why West. NSW 2099 
AUSTRALIA 

For Australia 
Tel: (02) 9982 8266 
For New Zealand 
Tel: (09) 3098 715 



t' 



CENTRAL/LATIN 
AMERICA 



ARGENTINA 

Instrumentos Musicales S.A. 

Av.Santa Fe 2055 
(1123) Buenos Aires 
ARGENTINA 
TEL: (Oil) 4508-2700 

BARBADOS 

A&B Music Supplies LTD 

12 Webster Industrial Park 
Wildey, St.Michael, Barbados 
TEL: (246)430-1100 

BRAZIL 

Roland Brasil Ltda. 

Rua San Jose, 780 Sala B 
Parque Industrial San Jose 
Cotia - Sao Paulo - SP, BRAZIL 
TEL: (Oil) 4615 5666 

CHILE 

Comercial Fancy II S.A. 
Rut.: 96.919.420-1 
Nataniel Cox #739, 4th Floor 
Santiago - Centro, CHILE 

TEL: (02) 688-9540 

COLOMBIA 

Centro Musical Ltda. 

Cra 43 B No 25 A 41 Bododega 9 
Medellin, Colombia 
TEL: (574)3812529 



COSTA RICA 

JUAN Bansbach Instrumentos 

Musicales 

Ave.l. Calle 11, Apartado 10237, 

San Jose, COSTA RICA 

TEL: 258-0211 

CURACAO 

Zeelandia Music Center Inc. 

Orionweg 30 

Curacao, Netherland Antilles 

TEL:{305)5926866 

DOMINICAN REPUBLIC 

Instrumentos Fernando Giraldez 

Calle Proyecto Central No.3 
Ens.La Esperilla 
Santo Domingo, 
Dominican Republic 
TEL: (809) 683 0305 

ECUADOR 

Mas Musika 

Rumichaca 822 y Zaruma 
Guayaquil - Ecuador 
TEL:(593-4)2302364 

EL SALVADOR 

OMNI MUSIC 

75 Avenida Norte y Final 
Alameda Juan Pablo II, 
Edificio No.4010 San Salvador, 
EL SALVADOR 
TEL: 262-0788 

GUATEMALA 

Casa Instrumental 

Calzada Roosevelt 34-Ql,zona 11 

Ciudad de Guatemala 

Guatemala 

TEL: (502) 599-2888 

HONDURAS 

Almacen Pajaro Azul S.A. de C.V. 

BO.Paz Barahona 

3 Ave.ll Calle S.O 

San Pedro Sula, Honduras 

TEL: (504) 553-2029 

^MARTINIQUE 

Musique & Son 
Z.I.Les Mangle 
97232 Le Lamantin 
Martinique F.W.I. 
TEL: 596 596 426860 

Gigamusic SARL 

10 Rte De La FoUe 
97200 Fort De France 
Martinique F.W.I. 
TEL: 596 596 715222 

MEXICO 

Casa Veerkamp, s.a. de c.v. 
Av. Toluca No. 323, Col. Olivar 
de los Padres 01780 Mexico 
D.F. MEXICO 
TEL: (55) 5668-6699 

NICARAGUA 

Bansbach Instrumentos 
Musicales Nicaragua 

Altamira D'Este Calle Principal 
de la Farmacia 5ta.Avenida 
1 Cuadra al Lago.#503 
Managua, Nicaragua 
TEL: (505)277-2557 

PANAMA 

SUPRO MUNDIAL, S.A. 

Boulevard Andrews, Albrook, 
Panama City, REP. DE 
PANAMA 
TEL: 315-0101 

PARAGUAY 

Distribuidora De 
Instrumentos Musicales 

J.E. Clear y ESQ. Manduvira 
Asuncion PARAGUAY 
TEL: (595) 21 492147 

PERU 

Audionet 

Distribuciones Musicales SAC 

Juan Fanning 530 

Miraflores 

Lima - Peru 

TEL: (511) 4461388 



TRINIDAD 

AMR Ltd 

Ground Floor 
Maritime Plaza 
Barataria Trinidad W.I. 
TEL: (868) 638 6385 

URUGUAY 

Todo Musica S.A. 

Francisco Acuna de Figueroa 

1771 

C.P.: 11.800 

Montevideo, URUGUAY 

TEL: (02) 924-2335 

VENEZUELA 

Instrumentos Musicales 
Allegro,C.A. 

Av.las industrias edf.Guitar 

import 

#7 zona Industrial de Turumo 

Caracas, Venezuela 

TEL: (212) 244-1122 



[EUROPE) 



AUSTRIA 

Roland Elektronische 
Musikinstrumente HmbH. 
Austrian Office 

Eduard-Bodem-Gasse 8, 
A-6020 hmsbruck, AUSTRIA 
TEL: (0512) 26 44 260 

BELGIUM/FRANCE/ 

HOLLAND/ 

LUXEMBOURG 

Roland Central Europe N.V. 
Houtstraat 3, B-2260, Oevel 
(Westerlo) BELGIUM 
TEL: (014) 575811 

CZECH REP. 

K-AUDIO 

Kardasovska 626. 
CZ-198 00 Praha 9, 
CZECH REP. 
TEL: (2) 666 10529 

DENMARK 

Roland Scandinavia A/S 

Nordhavnsvej 7, Postbox 880, 
DK-2100 Copenhagen 
DENMARK 
TEL: 3916 6200 

FINLAND 

Roland Scandinavia As, Filial 
Finland 

Elannontie 5 

FIN-01510 Vantaa, FINLAND 

TEL: (0)9 68 24 020 

GERMANY 

Roland Elektronische 
Musikinstrumente HmbH. 

Oststrasse 96, 22844 
Norderstedt, GERMANY 
TEL: (040) 52 60090 

GREECE 

STOLLAS S.A. 
Music Sound Light 

155, New National Road 
Patras 26442, GREECE 
TEL: 2610 435400 

HUNGARY 

Roland East Europe Ltd. 

Warehouse Area 'DEPO' Pf .83 
H-2046 Torokbalint, 
HUNGARY 
TEL: (23) 511011 

IRELAND 

Roland Ireland 

G2 Calmount Park, Calmount 
Avenue, Dublin 12 
Republic of IRELAND 
TEL: (01) 4294444 

ITALY 

Roland Italy S. p. A. 

Viale delle Industrie 8, 
20020 Arese, Milano, ITALY 
TEL: (02) 937-78300 



NORWAY 

Roland Scandinavia Avd. 
Kontor Norge 

Lilleakerveien 2 Postboks 95 
LiUeaker N-0216 Oslo 
NORWAY 

TEL: 2273 0074 

POLAND 

MX MUSIC SP.Z.O.O. 

UL. Gibraltarska 4. 

PL-03664 Warszawa POLAND 

TEL: (022) 679 44 19 

PORTUGAL 

Roland Iberia, S.L. 
Portugal Office 

Cais das Pedras, 8/9-1 Dto 
4050-465, Porto, PORTUGAL 
TEL: 22 608 00 60 

ROMANIA 

FBS LINES 
Plata Libertatii 1, 
535500 Gheorgheni, 
ROMANIA 

TEL: (266) 364 609 

RUSSIA 

MuTek 

Dorozhnaya ul.3,korp.6 
117 545 Moscow, RUSSIA 
TEL: (095) 981-4967 

SPAIN 

Roland Iberia, S.L. 

Paseo Garcia Faria, 33-35 
08005 Barcelona SPALN 
TEL: 93 493 91 00 

SWEDEN 

Roland Scandinavia A/S 
SWEDISH SALES OFFICE 
Danvik Center 28, 2 tr. 
S-131 30 Nacka SWEDEN 
TEL: (0)8 702 00 20 

SWITZERLAND 

Roland (Switzerland) AG 

Landstrasse 5, Postfach, 
CH-4452 Itingen, 
SWITZERLAND 
TEL: (061) 927-8383 

UKRAINE 

TIC-TAC 

Mira Str. 19/108 

P.O. Box 180 

295400 Munkachevo, 

UKILAINE 

TEL: (03131) 414-40 

UNITED KINGDOM 

Roland (U.K.) Ltd. 
Atlantic Close, Swansea 
Enterprise Park, SWANSEA 
SA7 9FJ, 

UNITED KINGDOM 
TEL: (01792) 702701 



(middle east) 

BAHRAIN 

Moon Stores 

No. 16, Bab Al Bahrain Avenue, 
P.O.Box 247, Manama 304, 
State of BAHRAIN 
TEL: 17 211 005 

CYPRUS 

Radex Sound Equipment Ltd. 

17, Diagorou Street, Nicosia, 

CYPRUS 

TEL: (022) 66-9426 

IRAN 

MOCO INC. 

No.41 Nike St., Dr.Shariyati Ave., 

Roberoye Cerahe Mirdamad 

Tehran, IRAN 

TEL: (021) 285-4169 

ISRAEL 

Halilit P. Greenspoon & Sons 
Ltd. 

8 Retzif Ha'aliya Hashnya St. 
Tel-Aviv-Yafo ISRAEL 
TEL: (03) 6823666 



JORDAN 

MUSIC HOUSE CO. LTD. 
FREDDY FOR MUSIC 

P. O. Box 922846 
Amman 11192 JORDAN 
TEL: (06) 5692696 

KUWAIT 

EASA HUSAIN AL-YOUSIFI 
& SONS CO. 

Abdullah Salem Street, 
Safat, KUWAIT 
TEL: 243-6399 

LEBANON 

Chahine S.A.L. 

Gerge Zeidan St., Chahine 

Bldg., Achrafieh, P.O.Box: 16- 

5857 

Beirut, LEBANON 

TEL: (01) 20-1441 

OMAN 

TALENTZ CENTRE L.L.C. 

Malatan House No.l 
Al Noor Street, Ruwi 
SULTANATE OF OMAN 
TEL: 2478 3443 

QATAR 

Al Emadi Co. (Badie Studio & 

Stores) 

P.O. Box 62, Doha, QATAR 

TEL: 4423-554 

SAUDI ARABIA 

aDawIiah Universal 
Electronics APL 

Corniche Road, Aldossary 
Bldg., 1st Floor, Alkhobar, 
SAUDI ARABIA 

P.O.Box 2154, Alkhobar 31952 
SAUDI ARABIA 
TEL: (03) 898 2081 

SYRIA 

Technical Light & Sound 
Center 

Rawda, Abdul Qader Jazairi St. 
Bldg. No. 21, P.O.BOX 13520, 
Damascus, SYRIA 
TEL: (Oil) 223-5384 

TURKEY 

ZUHAL DIS TICARET A.S. 
Galip Dede Cad. No.37 
Beyoglu - Istanbul / TURKEY 
TEL: (0212) 249 85 10 

U.A.E. 

Zak Electronics & Musical 
Instruments Co. L.L.C. 

Zabeel Road, Al Sherooq Bldg., 

No. 14, Grand Floor, Dubai, 

U.A.E. 

TEL: (04) 3360715 



(north America) ! 



CANADA 

Roland Canada Music Ltd. 
(Head Office) 

5480 Parkwood Way 

Richmond B. C, V6V 2M4 

CANADA 

TEL: (604) 270 6626 

Roland Canada Music Ltd. 
(Toronto Office) 

170 Admiral Boulevard 

Mississauga On L5T 2N6 

CANADA 

TEL: (905) 362 9707 

U. S. A. 

Roland Corporation U.S. 

5100 S. Eastern Avenue 
Los Angeles, CA 90040-2938, 
U. S. A. 
TEL: (323) 890 3700 



Roland Corporation 



As of December 10, 2005 (ROLAND) 

04232578 2MP 




The explanations in this manual include illustrations that depict what should typically be shown by the display. Note, however, that your 
unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may 
not always match what appears in the manual. 



Copyright © 2006 ROLAND CORPORATION 

All rights reserved. No part of this publication may be reproduced in any form without the 

written permission of ROLAND CORPORATION. 




JUNO-G_e.book 2 '^-y 2006^2^130 flBB ^1*2^4 4 » 



■ For the U.K. - 



IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. 

BLUE: NEUTRAL 
BROWN: LIVE 

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying 
the terminals in your plug, proceed as follows: 

The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. 
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. 
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug. 



USING THE UNIT SAFELY 



INSTRUCTIONS FOR THE PREVENTION OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS 



About A WARNING and A CAUTION NoHces 



About the Symbols 



AWARNING 


Used for instructions intended to alert 
the user to the risk of death or severe 
injury should the unit be used 
improperly. 


A CAUTION 


Used for instructions intended to alert 
the user to the risk of injury or material 
damage should the unit be used 
improperly. 

* Material damage refers to damage or 
other adverse effects caused with 
respect to the home and all its 
furnishings, as well to domestic 
animals or pets. 



A 



The ^ symbol alerts the user to important instructions 
or warnings. The specific meaning of the symbol is 
determined by the design contained within the 
triangle. In the case of the symbol at left, it is used for 
general cautions, warnings, or alerts to danger. 



The (5) symbol alerts the user to items that must never 
be carried out (are forbidden). The specific thing that 
must not be done is indicated by the design contained 
within the circle. In the case of the symbol at left, it 
means that the unit must never be disassembled. 



The W symbol alerts the user to things that must be 
carried out. The specific thing that must be done is 
indicated by the design contained within the circle. In 
the case of the symbol at left, it means that the power- 
cord plug must be unplugged from the outlet. 



ALWAYS OBSERVE THE FOLLOWING 



AWARNING 



Before using this unit, make sure to read the instruc- 
tions below, and the Owner's Manual. 



A 







Do not open or perform any internal modifications on 
the unit or its AC adaptor. (The only exception would be 
where this manual provides specific instructions which 
should be followed in order to put in place user- 
installable options; see p. 174, p. 176.) 

Do not attempt to repair the unit, or replace parts within it 
(except when this manual provides specific instructions 
directing you to do so). Refer all servicing to your retailer, 
the nearest Roland Service Center, or an authorized 
Roland distributor, as listed on the "Information" page. 

Never use or store the unit in places that are: 

• Subject to temperature extremes (e.g., direct sunlight 
in an enclosed vehicle, near a heating duct, on top of 
heat-generating equipment); or are 

• Damp (e.g., baths, washrooms, on wet floors); or are 

• Humid; or are 

• Exposed to rain; or are 

• Dusty; or are 

• Subject to high levels of vibration. 



This unit should be used only with a stand (KS-12) that 
is recommended by Roland. 



A 



AWARNING 



When using the unit with a stand (KS-12) recommended 
by Roland, the rack or stand must be carefully placed so it 
is level and sure to remain stable. If not using a rack or 
stand, you still need to make sure that any location you 
choose for placing the unit provides a level surface that 
will properly support the unit, and keep it from wobbling. 

Be sure to use only the AC adaptor supplied with the 
unit. Also, make sure the line voltage at the installation 
matches the input voltage specified on the AC adaptor's 
body. Other AC adaptors may use a different polarity, 
or be designed for a different voltage, so their use could 
result in damage, malfunction, or electric shock. 

Use only the attached powrer-supply cord. Also, the 
supplied power cord must not be used with any other 
device. 



Do not excessively twist or bend the power cord, nor 
place heavy objects on it. Doing so can damage the cord 
producing severed elements and short circuits. 
Damaged cords are fire and shock hazards! 







This unit, either alone or in combination with an 
amplifier and headphones or speakers, may be capable 
of producing sound levels that could cause permanent 
hearing loss. Do not operate for a long period of time at 
a high volume level, or at a level that is uncomfortable. 
If you experience any hearing loss or ringing in the ears, 
you should immediately stop using the unit, and consult 
an audiologist. 









JUNO-G_e.book 3 '^-y 2006^2^130 flBB ^1*2^4 4 » 



^WARNING 



Do not allow any objects (e.g., flammable material, 
coins, pins); or liquids of any kind (water, soft drinks, 
etc.) to penetrate the unit. When you install the Wave 
Expansion Board (SRX series) or memory (DIMM), 
please be careful particularly. 



Immediately turn the power off, remove the AC adaptor 
from the outlet, and request servicing by your retailer, 
the nearest Roland Service Center, or an authorized 
Roland distributor, as listed on the "Information" page 
when: 

• The AC adaptor, the power-supply cord, or the plug 
has been damaged; or 

• If smoke or unusual odor occurs 

• Objects have fallen into, or liquid has been spilled 
onto the unit; or 

• The unit has been exposed to rain (or otherwise has 
become wet); or 

• The unit does not appear to operate normally or 
exhibits a marked change in performance. 

In households with small children, an adult should 
provide supervision until the child is capable of 
following all the rules essential for the safe operation of 
the unit. 

Protect the unit from strong impact. 
(Do not drop it!) 



A 



A 




Do not force the unit's power-supply cord to share an 
outlet with an unreasonable number of other devices. Be 
especially careful when using extension cords — the total 
power used by all devices you have connected to the 
extension cord's outlet must never exceed the power 
rating (watts/amperes) for the extension cord. Excessive 
loads can cause the insulation on the cord to heat up and 
eventually melt through. 







Before using the unit in a foreign country, consult with 
your retailer, the nearest Roland Service Center, or an 
authorized Roland distributor, as listed on the "Infor- 
mation" page. 

Always turn the unit off and unplug the AC adaptor 
before attempting installation of the circuit board (SRX 
series; p. 174, DIMM; p. 176). 

DO NOT play a CD-ROM disc on a conventional audio 
CD player. The resulting sound may be of a level that 
could cause permanent hearing loss. Damage to 
speakers or other system components may result. 



A 







(^ 



A CAUTION 



The unit and the AC adaptor should be located so their 
location or position does not interfere with their proper 
ventilation. 



A 



This (JUNO-G) for use only with Roland stand (KS-12). 
Use with other stands is capable of resulting in instability 
causing possible injury. 

Always grasp only the plug on the AC adaptor cord 
when plugging into, or unplugging from, an outlet or 
this unit. 



At regular intervals, you should unplug the AC adaptor 
and clean it by using a dry cloth to wipe all dust and 
other accumulations away from its prongs. Also, 
disconnect the power plug from the power outlet 
whenever the unit is to remain unused for an extended 
period of time. Any accumulation of dust between the 
power plug and the power outlet can result in poor 
insulation and lead to fire. 



A 



Try to prevent cords and cables from becoming 
entangled. Also, all cords and cables should be placed 
so they are out of the reach of children. 

Never climb on top of, nor place heavy objects on the 
unit. 



A 





Never handle the AC adaptor or its plugs with wet 
hands when plugging into, or unplugging from, an 
outlet or this unit. 



Before moving the unit, disconnect the AC adaptor and 
all cords coming from external devices. 



Before cleaning the unit, turn off the power and unplug 
the AC adaptor from the outlet (p. 15). 



Whenever you suspect the possibility of lightning in 
your area, disconnect the AC adaptor from the outlet. 



Install only the specified circuit board(s) (SRX series, 
DIMM). Remove only the specified screws (p. 174, p. 
176). 

Should you remove the ground terminal screw or 
screws that fasten the bottom cover or the PC card 
protector, keep them in a safe place out of children's 
reach, so there is no chance of them being swallowed 
accidentally. 



o 
o 





_e.book 4 '^-y 2 6^2^ 1 3 H MMB ^1*2^4 4 » 




IMPORTANT NOTES 



In addition to the items listed under "USING THE UNIT SAFELY" on page 2-3, please read and observe the following: 



PovN^er Supply 



Repairs and Data 



Do not connect this unit to same electrical outlet that is heing 
used by an electrical appliance that is controlled by an inverter 
(such as a refrigerator, washing machine, microwave oven, or air 
conditioner), or that contains a motor. Depending on the way in 
which the electrical appliance is used, power supply noise may 
cause this unit to malfunction or may produce audible noise. If it 
is not practical to use a separate electrical outlet, connect a power 
supply noise filter between this unit and the electrical outlet. 

The AC adaptor will begin to generate heat after long hours of 
consecutive use. This is normal, and is not a cause for concern. 

Before connecting this unit to other devices, turn off the power to 
all units. This will help prevent malfunctions and/or damage to 
speakers or other devices. 



Placement 



Using the unit near power amplifiers (or other equipment 
containing large power transformers) may induce hum. To 
alleviate the problem, change the orientation of this unit; or move 
it farther away from the source of interference. 

This device may interfere with radio and television reception. Do 
not use this device in the vicinity of such receivers. 

Noise may be produced if wireless communications devices, such 
as cell phones, are operated in the vicinity of this unit. Such noise 
could occur when receiving or initiating a call, or wrhile 
conversing. Should you experience such problems, you should 
relocate such wireless devices so they are at a greater distance 
from this unit, or switch them off. 

Do not expose the unit to direct sunlight, place it near devices 
that radiate heat, leave it inside an enclosed vehicle, or otherwise 
subject it to temperature extremes. Excessive heat can deform or 
discolor the unit. 

When moved from one location to another wrhere the temper- 
ature and /or humidity is very different, water droplets (conden- 
sation) may form inside the unit. Damage or malfunction may 
result if you attempt to use the unit in this condition. Therefore, 
before using the unit, you must allow it to stand for several 
hours, until the condensation has completely evaporated. 

Do not allow objects to remain on top of the keyboard. This can 
be the cause of malfunction, such as keys ceasing to produce 
sound. 

Depending on the material and temperature of the surface on which 
you place the unit, its rubber feet may discolor or mar the surface. 
You can place a piece of felt or cloth under the rubber feet to 
prevent this from happening. If you do so, please make sure that the 
unit will not slip or move accidentally. 



Maintenance 



For everyday cleaning wipe the unit with a soft, dry cloth or one that 
has been slightly dampened with water. To remove stubborn dirt, 
use a cloth impregnated with a mild, non-abrasive detergent. After- 
wards, be sure to wipe the unit thoroughly with a soft, dry cloth. 

Never use benzine, thinners, alcohol or solvents of any kind, to 
avoid the possibility of discoloration and /or deformation. 



• Please be awrare that all data contained in the unit's memory may 
be lost when the unit is sent for repairs. Important data should 
always be backed up on a memory card, or written down on 
paper (when possible). During repairs, due care is taken to avoid 
the loss of data. However, in certain cases (such as when circuitry 
related to memory itself is out of order), we regret that it may not 
be possible to restore the data, and Roland assumes no liability 
concerning such loss of data. 

Additional Precautions 

• Please be aware that the contents of memory can be irretrievably 
lost as a result of a malfunction, or the improper operation of the 
unit. To protect yourself against the risk of loosing important 
data, we recommend that you periodically save a backup copy of 
important data you have stored in the unit's memory on a 
memory card. 

• Unfortunately, it may be impossible to restore the contents of 
data that was stored on a memory card or unit's memory once it 
has been lost. Roland Corporation assumes no liability 
concerning such loss of data. 

• Use a reasonable amount of care when using the unit's buttons, 
sliders, or other controls; and when using its jacks and 
connectors. Rough handling can lead to malfunctions. 

• Never strike or apply strong pressure to the display. 

• When connecting / disconnecting all cables, grasp the connector 
itself — never pull on the cable. This way you will avoid causing 
shorts, or damage to the cable's internal elements. 

• To avoid disturbing your neighbors, try to keep the unit's volume 
at reasonable levels. You may prefer to use headphones, so you 
do not need to be concerned about those around you (especially 
when it is late at night). 

• When you need to transport the unit, package it in the box 
(including padding) that it came in, if possible. Otherwise, you 
will need to use equivalent packaging materials. 

• Use only the specified expression pedal (EV-5; sold separately). 
By connecting any other expression pedals, you risk causing 
malfunction and/or damage to the unit. 

• Use a cable from Roland to make the connection. If using some other 
make of connection cable, please note the following precautions. 

• Some connection cables contain resistors. Do not use cables 
that incorporate resistors for connecting to this unit. The use 
of such cables can cause the sound level to be extremely low, 
or impossible to hear. For information on cable specifications, 
contact the manufacturer of the cable. 

• The sensitivity of the D Beam controller will change depending 
on the amount of light in the vicinity of the unit. If it does not 
function as you expect, adjust the sensitivity as appropriate for 
the brightness of your location. 





JUNO-G_e.book 5 '^-y 2 6^2^ 1 3 H flBB ^1*2^4 4 » 



IMPORTANT NOTES 



Before Using Cards 

Using Memory Cards (p. 1 78) 

• Carefully insert the memory card all the way in — until it is firmly 
in place. 

• Never touch the terminals of the memory card. Also, avoid 
getting the terminals dirty. 

• This unit's PC card slot accepts CompactFlash memory cards. 
Microdrive storage media are not compatible. 

• CompactFlash and SmartMedia (3.3 V) are constructed using 
precision components; handle the cards carefully, paying 
particular note to the following. 

• To prevent damage to the cards from static electricity, be sure 
to discharge any static electricity from your owm body before 
handling the cards. 

• Do not touch or allows metal to come into contact with the 
contact portion of the cards. 

• Do not bend, drop, or subject cards to strong shock or 
vibration. 

• Do not keep cards in direct sunlight, in closed vehicles, or 
other such locations (storage temperature: -25 to 85° C). 

• Do not allow cards to become wet. 

• Do not disassemble or modify the cards. 

Handling CD-ROMs 

• Avoid touching or scratching the shiny underside (encoded 
surface) of the disc. Damaged or dirty CD-ROM discs may not be 
read properly. Keep your discs clean using a commercially 
available CD cleaner. 



* All product names mentioned in this document are trade- 
n\arks or registered trademarks of their respective owners. 

* SmartMedia is a trademark of Toshiba Corp. 

* CompactFlash and ^5^* are trademarks of SanDisk 
Corporation and licensed by CompactFlash association. 

* Roland Corporation is an authorized licensee of the 
CompactFlash" and CF logo ( ^4^ ) trademarks. 




Copyright 



Unauthorized recording, distribution, sale, lending, public 
performance, broadcasting, or the like, in whole or in part, of a 
work (musical composition, video, broadcast, public perfor- 
mance, or the like) whose copyright is held by a third party is 
prohibited by law. 

Do not use this unit for purposes that could infringe on a 
copyright held by a third party. We assume no responsibility 
whatsoever with regard to any infringements of third-party 
copyrights arising through your use of this unit. 




JUNO-G_e.book 6 '^-y 2006^2^130 flBB ^1*2^4 4 » 




Contents 



USING THE UNIT SAFELY 2 

IMPORTANT NOTES 4 

Main Features 10 

Panel Descriptions 11 

Front Panel 11 

Rear Panel 13 

Getting Ready 14 

Connections 14 

Turning On/Off the Power 15 

Adjusting the Display Contrast (LCD Contrast) 15 

Listening to the Demo Songs 15 

Various Performance Features 16 

Overview of the JUNO-G 17 

How the JUNO-G Is Organized 17 

About Memory 19 

About the Onboard Effects 20 

About the Song Recorder 21 

About Audio Track Recording 22 

Basic Operation of the JUNO-G 23 

Switching the Sound Generator Mode 23 

About the Function Buttons 23 

Moving the Cursor 24 

Changing a Value 24 

Assigning a Name 24 

Playing In Patch Mode 25 

About the PATCH PLAY Screen 25 

Selecting Patches in the Main Screen 26 

Using the Category Group Buttons to Select Patches 26 

Selecting Patches from the List 27 

Auditioning a Patch or Rhythm Set (Phrase Preview) 28 

Transposing the Keyboard in Octave Units (Octave Shift) 28 

Transposing the Keyboard in Semitone Steps (Transpose) 29 

Selecting the Tones That Will Sound (Tone On/Off) 29 

Playing Percussion Instruments 29 

Adjusting the Volume Balance between the Keyboard Performance and the Rhythm Pattern ... 29 

Creating a Patch 30 

How to Make Patch Settings 30 

Saving Patches You've Created (Write) 32 

Functions of Patch Parameters 34 

Creating a Rhythm Set 49 

How to Make Rhythm Set Settings 49 

Saving Rhythm Sets You've Created (Write) 51 

Functions of Rhythm Set Parameters 52 

Playing In Performance Mode 58 

Displaying PERFORM PLAY Screen 58 





JUNO-G_e.book 7 '^-y 2006^2^130 flBB ^1*2^4 4 » 



Displaying PART MIXER Screen 58 

Functions in the PERFORMANCE PLAY/ MIXER Screen 58 

Selecting a Performance 59 

Using the PLAY Screen 60 

Combining and Playing Sounds Together (Layer) 60 

Playing Different Sounds in Different Areas of the Keyboard (Split) 61 

Using the MIXER Screen 61 

Creating a Performance 63 

Adjusting the Parameters of Each Part 63 

Changing the Settings of the Patch Assigned to a Part 63 

Saving a Performance You've Created (Write) 63 

Functions of Parameters of Each Part (Performance Parameters) 64 

MIDI Settings 67 

Settings for the D Beam and the Controller 68 

Modifying the Sound in Reai Time 69 

D Beam Controller 69 

Control Pedal 72 

Piaying Arpeggios 73 

About Arpeggio 73 

Playing Arpeggios 73 

Arpeggio Settings 74 

Creating an Arpeggio Style (Arpeggio Style Edit) 75 

Saving the Styles You Have Created (Write) 76 

Using the Chord i\/lemory Function 77 

About the Chord Memory Function 77 

Performing with the Chord Memory Function 77 

Creating Your Own Chord Forms 78 

Saving the Chord Forms You Have Created (Write) 78 

Piaying Rhythms 79 

About Rhythm Patterns 79 

Using Rhythm Groups 79 

Playing Rhythm 79 

Rhythm Pattern Settings 80 

Creating a Rhythm Pattern (Rhythm Pattern Edit) 81 

Saving the Rhythm Pattern You Have Created (Write) 81 

Creating a Rhythm Group (Rhythm Group Edit) 82 

Saving the Rhythm Group You Have Created (Write) 82 

Creating a List of Frequentiy Used Patches, Performances, or Songs 
(Live Setting) 83 

Recalling Sounds 83 

Registering a Sound 83 

Registering a Song 83 

Removing a Registration 83 

Removing all Registrations from a Bank 83 

Piaying BaclcaSong 84 

Loading and Playing a Song (Load Play) 84 

Playing MIDI Tracks Immediately (Quick Play) 84 

Various Playback Methods 85 

Recording a Song (i\/liDi Tracic) 87 

Before You Record a New MIDI Track 87 

Recording Your Performance as You Play It (Realtime Recording) 88 

Inputting Data One Step at a Time (Step Recording) 92 





JUNO-G_e.book 8 '^-y 2006^2^130 flBB ^1*2^4 4 » 



Editing a Song (iVIIDI Tracit) 94 

Loading the Song You Want to Edit 94 

Editing Sequencer Data Over the Specified Range (Track Edit) 97 

Editing Individual Items of Sequencer Data (Micro Edit) 99 

Assigning a Name to a Song (Song Name) 103 

Recording a Song (Audio Tracic) 104 

Before You Record Audio via the AUDIO INPUT Jacks 104 

Recording an Audio Track (SOLO/RE-SAMPLING) 105 

Combining Multiple Audio Tracks into One Track (AUDIO MERGE) 106 

Editing a Song (Audio Tracl() 108 

Items in the AUDIO TRACK Screen 108 

Editing Audio Tracks (AUDIO TRACK Screen) 108 

Items in the AUDIO MIXER Screen Ill 

Controlling the Audio Tracks (AUDIO MIXER screen) Ill 

Saving/Loading a Song (Save/Load) 113 

Saving a Song (Save) 113 

Saving a Song as an SMF File (Save as SMF) 114 

Loading a Song (Load) 115 

Editing a Audio Phrase (Sampie) 117 

Sample List 117 

Sample Edit 119 

Saving a Sample (Write) 124 

Adding Effects 125 

Turning Effects On and Off 125 

Making Effect Settings 125 

Applying Effects in Patch Mode 126 

Applying Effects in Performance Mode 127 

Making Multi-Effects Settings (MFXl-3) 129 

Making Multi-Effects Settings (MFX Control) 129 

Specifying the Multi-Effects Structure (MFX Structure) 130 

Multi-Effects Parameters 131 

Making Chorus Settings 154 

Making Reverb Settings 155 

Mastering Effect 156 

Settings Common to Aii i\/lodes (System Function) 157 

How to Make System Function Settings 157 

Saving the System Settings (System Write) 157 

System Information 157 

Functions of System Parameters 158 

Data i\/lanagement Functions/ 

Reset to Factory Settings (Factory Reset) 164 

Backing Up User Data (User Backup) 164 

Restoring User Data that You Backed Up (User Restore) 164 

Factory Reset 164 

Initializing a Memory Card (Card Format) 164 

Fiie-Reiated Functions (Fiie Utiiity) 165 

Basic Procedure 165 

Copying a File (Copy) 166 

Deleting a File (Delete) 166 

Moving a File (Move) 166 

Initializing a Memory Card (Card Format) 166 




8 




JUNO-G_e.book 9 '^-y 2006^2^130 flBB ^1*2^4 4 » 



Connecting to Your Computer via USB 167 

About USB Functions 167 

Selecting the USB Operating Mode 167 

Transferring Files to or from Your Computer (Storage Mode) 167 

Exchanging MIDI Messages with Your Computer (MIDI Mode) 169 

Using JUNO-G Editor/Librarian 170 

Installing JUNO-G Editor /Librarian into Your Computer 170 

Making Connections 170 

About PC Mode 170 

JUNO-G Editor/Librarian System Requirements 170 

About V-LiNK 172 

What is V-LINK? 172 

Connection Example 172 

Turning the V-LINK ON/OFF 172 

V-LINK Settings (V-LINK SETUP) 173 

Instaiiing the Wave Expansion Board 174 

Cautions When Installing a Wave Expansion Board 174 

How to Install a Wave Expansion Board 174 

Checking the Installed Wave Expansion Board 175 

Expanding the i\/lemory 176 

Precautions for Expanding Memory 176 

How to Expand the Memory 176 

Checking that memory is installed correctly 177 

Using a i\/lemory Card 178 

Before Using the Memory Card 178 

Writing data to the card 178 

Installing the PC Card Protector 178 

Troubieshooting 179 

Error i\/lessages 186 

Performance List 187 

Patch List 188 

Rhythm Set List 193 

Waveform List 202 

Arpeggio Styie List 205 

Rhythm Group List 206 

Rhythm Pattern List 207 

About i\/liDi 209 

iVIiDi impiementation 210 

iVIiDi impiementation Chart 241 

Specifications 243 

Index 244 





JUNO-G_e.book IC^-y 2006^2^130 ^ms ^ft2B#44-H- 




Main Features 



The JUNO-G is a high-quality synthesizer with professional sounds 
and playability. It features the latest sound generator, a variety of 
effects, and a song recorder with audio tracks, all combined into an 
easy-to-use instrument. The features listed below make the JUNO-G 
a great choice for any style of music, in applications ranging from 
stage performance to composition and arranging. 

The latest sound engine v\^ith 1 28- 
voice polyphony 

The JUNO-G provides 128 voices of polyphony — the standard for 
the new era. You can layer complex sounds and enjoy multitrack 
recording using the song recorder. 

Support for v\^ave expansion boards 

To supplement the numerous patches that use the carefully selected 
high quality waves built into the JUNO-G, you can install one wave 
expansion board to add more waveform data. Depending on your 
needs and your favorite musical styles, you can choose one board 
from the wide variety of professionally acclaimed Roland SRX series 
boards now available. 

Song recorder v\^ith audio tracks 

The built-in song recorder provides four dedicated audio tracks 
(stereo) in addition to the MIDI tracks (16 parts). This lets you create 
songs that contain audio acquired from a performing vocalist or 
guitarist in combination with the music produced by the internal 
sound generator. 

The MIDI track section provides a high-resolution 16-part (MIDI) 
sequencer that's designed with features like loop recording so that 
you can record non-stop without interrupting your musical 
imagination. 

The audio track section contains 4 MB of memory as standard 
(corresponding to approximately 23.5 seconds of stereo recording). 
You can add DIMM memory (up to 512 MB) to expand the recording 
capacity to a maximum of 51 minutes (stereo). In addition to audio 
phrases you record on the JUNO-G, you can also import audio files 
(in WAV or AIFF format) from your PC and use them as audio track 
phrases. 



Live Setting function 



The Live Setting function allows you to memorize settings and recall 
them as your live set progresses, guaranteeing that your 
performance will go smoothly. 

Sample Patch function 

This function lets you recall audio phrases from the audio tracks and 
play them on the keyboard just like patches or rhythm sets. 

Pov\^erful effects including mastering 
functionality 

The JUNO-G provides three multi-effects processors (78 types), plus 
independent chorus and reverb processors. There's a mastering 
effect, indispensable for adding the final touch to your production, 
bringing your sound CD-master level impact and audio quality. 



Versatile sound control functionality 

In addition to a D Beam controller, the JUNO-G provides a wide 
range of controllers, such as the sound modify knobs and a hold 
pedal jack that can detect half-damper operations. The JUNO-G 
gives you complete control over your on-stage sound. 

Plenty of external interfacing 

The rear panel USB connector supports both file transfer and USB- 
MlDl, and can be switched as desired. There's also a PC card slot 
that can accommodate SmartMedia or CompactFlash via a 
commercially available adaptor. You can use a card to store as much 
as 1 GB of data (when using CompactFlash). 

JUNO-G Editor/Librarian is included 

Dedicated editor/librarian software is included, letting you edit and 
manage JUNO-G sounds from the large screen of your computer. 

V-LINK functionality 

V-LINK allows you to synchronize music and video, opening up 
completely new performance possibilities. 

If you use the JUNO-G in conjunction with a V-LINK compatible 
video device (such as the Edirol motion dive .tokyo Performance 
Package, DV-7PR, PR-50, or V-4), you'll be able to control the images 
using the same operations as when playing music on the JUNO-G. 

General MIDI/GM2 compatibility 

The JUNO-G is compatible with General M1D1/GM2, and is able to 
play back music data that complies with the General M1D1/GM2 
standard (General MIDI scores). 




10 




JUNO-G_e.book 11 '^-y 200 6^2^130 ^ms ^ft2B#4 4-H- 




Panel Descriptions 



Front Panel 




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I 1 I D BEAM 

Switches D Beam function on/off. You can apply a variety of effects 
to sounds simply by moving your hand (p. 69). 

[SOLO SYNTH] 

Play the JUNO-G as a monophonic synthesizer (p. 70). 

[ACTIVE EXPRESS] 

Play the JUNO-G as a active expression (p. 71). 

[ASSIGNABLE] 

You can assign a variety of parameters and functions to D Beam to 
modify the sound in realtime (p. 71). 

* Hold down [SHIFT] and press one of the corresponding buttons to 
access the D BEAM setting screen. 



VOLUME Knob 

Adjusts the overall volume that is output from the rear panel 
OUTPUT A (MIX) jacks and PHONES jack (p. 15). 

[V-LINK] 

Switches the V-LlNK function on/off (p. 172). 
Press this button to access the V-LINK setting screen. 



MODE 



[PATCH] 

Enter Patch mode (p. 25). 

[PERFORM] 

View the Performance mode's Play screen (p. 58). 

[LIVE SETTING] 

View the LIVE SETTING screen (p. 83). 

[USB] 

Accesses the USB function select screen (p. 167). 

[PART MIXER] 

View the Performance mode's Mixer screen (p. 58). 

[AUDITION] 

Hold down this button to audition the currently selected sound (p. 28). 

[TRANSPOSE] 

By holding down [TRANSPOSE] and pressing [+] [-], you can raise 



or lower the keyboard range in steps of a semitone (p. 29). 

OCTAVE [UP] [DOWN] 

Transposes the pitch of the keyboard in 1 octave units (p. 28). 



EDIT 



[PATCH] 

Make patch-related settings (p. 30). 

[EFFECTS] 

Make effect-related settings (p. 125). 

[MENU] 

Opens the MENU. The contents of the menu will depend on the 
current mode. 

[SONG] 

Press this button to edit the entire song or to edit MIDI tracks. Also, 
this button is pressed to toggle between the Song Edit screen and the 
Song List screen (p. 84, p. 87, p. 94). 

[AUDIO] 

This button accesses the Sample Edit screen. Also, this button is 
pressed to toggle between the Sample Edit screen and the Sample 
List screen (p. 117). 

[WRITE] 

Save edited settings into internal memory or a memory card (p. 32, 
p. 51, p. 63, p. 76, p. 78, p. 124). 



[ARPEGGIO] 

Switches the ARPEGGIO on /off. The arpeggio setting screen will 
appear when you turn this on (p. 73). 

[CHORD MEMORY] 

Switches the CHORD MEMORY on/off. The chord memory setting 
screen will appear when you turn this on (p. 77). 



6 



Display 

This displays information regarding the operation you are 
performing. 



11 




JUNO-G_e.book 12 '^-y 2006^2^130 ^WH ^ft2a#44-H- 



Panel Descriptions 



[RHYTHM PATTERN] 

This button accesses the Rhythm Pattern playback screen (p. 79). 

[PART SELECT/TONE SW/SEL] 

When you press this button so it's Ut, the category group buttons 
will operate as part select, tone switch, or tone select buttons. 

[RHYTHMHBASS] 

These are the category group buttons (only in Patch mode). 

Function Buttons 

([Fl (KBD/ORG)HF6 (VOCAL/PAD)]) 

The row of six buttons below the display are used to carry out 
various functions during editing and other tasks. The functions of 
these buttons will depend on the screen that you've selected (p. 23). 



m 



VALUE Dial 

This is used to modify values. If you hold down [SHIFT] as you turn 
the VALUE dial, the value will change in greater increments (p. 24). 

[DEC], [INC] 

This is used to modify values. If you keep on holding down one 
button wrhile pressing the other, the value change accelerates. If you 
press one of these buttons while holding down [SHIFT], the value 
will change in bigger increments (p. 24). 

[a], [▼], [^], [^] 

Moves the cursor location up/dowm/left/right (p. 24). 

[SHIFT] 

This button is used in conjunction with other buttons to execute 
various functions. 

[EXIT] 

Return to the previous screen, or close the currently open window. 
In some screens, this causes the currently executing function to be 
aborted. 

[ENTER] 

Use this button to execute an operation. 



8 



SONG RECORDER 



[AUDIO TRACK] 

This button accesses the Audio Track screen (p. 104, p. 108). 

[TEMPO] 

Sets the tempo (BPM) (p. 73, p. 79, p. 85, p. 88). 

[LOOP] 

Turns Loop Play on/off. The loop setting screen will appear wrhen 
you turn this on (p. 86, p. 95). 

AUDIO IN Slider 

This adjusts the AUDIO INPUT level. If you hold down [SHIFT] 
while operating this slider, the Input Setting screen •will appear (p. 
104). 

TRACK A1-A4 Sliders 

These sliders adjust the volume of each audio track (stereo). 

[BWD], [FWD] 

Moves the song position to the first beat of the previous or next 
measure (p. 85). 

* While playback is stopped, you can hold down [STOP] and press 
[BWD] to return the song position to the beginning of the song. If you 
press this during playback, you will return to the beginning of the 
song and stop. 



[STOP] 

Controls song recorder stop. 

[PLAY] 

Controls song recorder play. 

* While stopped, you can hold down ]SHIFT] and Press fPLAYJ to 
perform MIDI Update (p. 86). 

[REC] 

The display changes to the Recording Standby window (p. 88, p. 92, 
p. 105). If you press this button while recording a MIDI track, the 
Rehearsal function will be activated (p. 92). 



9j SOUND MODIFY 

Turn these knobs to adjust the sound in real time or to edit 
parameter values. 

Pressing the button located at the left of knobs 1-4 will change the 
illumination status of the indicators located above the button, and 
will change the function of knobs 1-4 (p. 30). 

* In the performance mode, this button doesn't function. 



The CUTOFF knob and RESONANCE knob are dedicated to 
controlling Cutoff Frequency and Resonance (p. 30). 



10 



Pitch Bend/Modulation Lever 

This allows you to control pitch bend or apply vibrato (p. 16). 




12 




4^ 



JUNO-G_e.book 13 '^-y 2006^2^130 ^BH ^lt2©44^~- 



Panel Descriptions 



Rear Panel 




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LCD CONTRAST Knob 

This knob adjusts the contrast of the top panel display. 

USB Connector 

This connector lets you use a USB cable to connect your computer to 
the JUNO-G (p. 167, p. 170). 



PC CARD Slot 

A memory card can be inserted here (p. 178). 

* Never insert or remove a memory card while this unit's power is on. 
Doing so may corrupt the unit's data or the data on the memory card. 

* Carefully insert the memory card all the way in — until it is firmly in 
place. 



MIDI Connectors (OUT, IN) 

These connectors can be connected to other MIDI devices to receive 
and transmit MIDI messages. 

CONTROL PEDAL Jock 

You can connect optional expression pedals (EV-5, etc.) to these 
jacks. By assigning a desired function to a pedal, you can use it to 
select or modify sound or perform various other control. You can 
also connect optional pedal switches (DP series etc.) to sustain sound 
(p. 16). 

* Use only the specified expression pedal (EV-5; sold separately). By 
connecting any other expression pedals, you risk causing malfunction 
and/or damage to the unit. 

HOLD PEDAL Jock 

An optional pedal switch (DP series etc.) can be connected to this 
jack for use as a hold pedal (p. 16). 

This can also be set so it supports the use of half-pedaling 
techniques. So, after connecting an optional expression pedal (DP-8/ 
10), you can employ pedal work to achieve even finer control in 
performances in which piano tones are used. 



AUDIO INPUT LEVEL Knob 

This knob adjusts the volume of the input to the AUDIO INPUT. Use 
this knob to make adjustments if the sound is still distorted even 
after you lower the top panel AUDIO IN slider, or conversely if the 
volume is insufficient even after setting the slider to the maximimi 
position (p. 104). 



AUDIO INPUT Jocks (L (MONO)/MIC, R) 

Accept input of audio signals in stereo (L/R) from external devices. 
If you want to use mono input, connect to the L jack. When 
recording from a mic, connect it to the L jack 

* When connection cables with resistors are used, the volume level of 
equipment connected to the AUDIO INPUT jacks may be low. If this 
happens, use connection cables that do not contain resistors, such as 
those from the Roland PCS series. 

OUTPUT A (MIX) Jocks (L (MONO)/1, R/2) 

These jacks output the audio signal to the connected mixer /amplifier 
system in stereo. For mono output, use the L jack (p. 14). 

"■ You can also use these to output each part independently. 

OUTPUT B Jocks (L/3, R/4) 

These jacks output the audio signal to the connected mixer/amplifier 
system in stereo. 

* You can also use these to output each part independently. 

PHONES Jock 

This is the jack for connecting headphones (sold separately) (p. 14). 



Cord Hook 

Anchor the cord of the AC adaptor (p. 14). 

DC IN Jock 

Connect the AC adaptor here (p. 14). 

Be sure to use only the supplied AC adaptor. 

POWER ON Switch 

Press to turn the power on/off (p. 15). 

Ground Terminol 

Depending on the circumstances of a particular setup, you may 
experience a discomforting sensation, or perceive that the surface 
feels gritty to the touch when you touch this device, microphones 
connected to it, or the metal portions of other objects, such as guitars. 
This is due to an infinitesimal electrical charge, which is absolutely 
harmless. However, if you are concerned about this, connect the 
ground terminal (see figure) with an external ground. When the unit 
is grounded, a slight hum may occur, depending on the particulars 
of your installation. If you are unsure of the connection method, 
contact the nearest Roland Service Center, or an authorized Roland 
distributor, as listed on the "Information" page. 

Unsuitable places for connection 

• Water pipes (may result in shock or electrocution) 

• Gas pipes (may result in fire or explosion) 

• Telephone-line ground or lightning rod (may be dangerous in 
the event of lightning) 



13 



JUNO-G_e.book M'^-y 2006^2^130 MtUB ^ft2B#44-H- 




Getting Ready 



Connections 



Since JUNO-G contains no amplifier or speakers, you'll need to connect it to audio equipment such as a keyboard amplifier, monitor speaker 
system or home stereo, or use headphones to hear its sound. 

In order to fully experience the JUNO-G's sound, we recommend using a stereo amp/speaker system. If you're using a mono system, however, 
make your connections to the JUNO-G's OUTPUT A (MIX) jack L (MONO). 
* Audio cables are not included with the JUNO-G. You'll need to provide them. 



dan 

To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices 
before making any connections. 





Mixer etc. 



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Monitor speakers 
(powered) 



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Power amp 



to the Power Outlet 



AC adaptor 



dmi 

To prevent the inadvertent disruption of power to your unit (should the plug be pulled out accidentally), and to avoid applying undue stress 
to the AC adaptor jack, anchor the pov/ei cord using the cord hook, as shown in the illustration. 



14 




4^ 



JUNO-G_e.book 15 '^-y 2006^2^130 ^BH ^lt2©44^~- 



Getting Ready 




Turning On/Off the PovN^er 



* Once the connections have been completed (p. 14), turn on power to 
your various devices in the order specified. By turning on devices in 
the wrong order, you risk causing malfunction and/or damage to 
speakers and other devices. 

1 . Before turning on the JUNO-G's power, consider these two 
questions: 

* Are all devices connected properly? 

* Have the volume controls of the JUNO-G and all connected 
audio devices been turned to their lowest settings? 

2. Turn on the POWER ON switch located on the rear panel of 
the JUNO-G. 

* This unit is equipped with a protection circuit. A brief interval (a few 
seconds) after power up is required before the unit will operate normally. 

* To ensure proper operation of the pitch bend lever, make sure not to 
touch the lever when turning the JUNO-G's power on. 



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Do not touch! 

3. Turn on the power for any connected audio devices. 

4. While playing the keyboard, gradually raise the volume of 
the JUNO-G and connected devices. 



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Turning Off the Pov^er 

1 . Before turning off the power, consider these two questions: 

• Have the volume controls of the JUNO-G and all connected 
audio devices been turned to their lowest settings? 

• Have you saved your JUNO-G sounds or other data you've created? 

2. Turn off the power for all connected audio devices. 

3. Turn off the POWER ON switch of the JUNO-G. 



Adjusting the Display 
Contrast (LCD Contrast) 



The characters in the display may be difficult to view immediately 
after turning on the JUNO-G's power or after extended use. If this 
occurs, turn the rear panel LCD CONTRAST knob to make the 
display legible. 



Listening to the Demo Songs 



The internal demo songs •will feature the JUNO-G's exceptional 
sounds and effects. 

1 . Press EDIT [MENU] to open the Top IVIenu Window. 



I^^i^l 



-r 1 . Undo f Redo 



Ut i 1 i ty 
File uti 1 ity 
Live Setting Edit 
Input Setting 
Demo Play 
5ave / Load 



: M=aaai 
)fiC. Piano 



10 



(=E1-(=EJ- 



fl D S P 

A A A A 



2. Press [.▲] [^ to select "7. Demo Play. 



Top Menu 



1 . Undo / Redo 
£. System 

3. Uti 1 ity 

4. File uti 1 ita 

5. Live Setting Edit 

6. Input Setting 



Demo Play 



8. Save / Load 



: M=aeai 

i J = 1£e 4.^4 
)fiC. Piano 



10 



(=E1-(=EJ- 



fl D S P 

A A A A 



3. Press [ENTER]. 

The DEMO MENU screen appears. 

4. Turn the VALUE dial or use [INC] [DEC] to select a song. 

5. Press [ENTER] to start playback. 

Playback will stop automatically when the song ends. 
If you press [F6 (PLAY ALL)], the songs will playback 
successively, beginning from the first. 

* Press [EXIT] or fSTOPJ to stop the demo song. 

6. Press [EXIT] to return to the previous screen. 



(MEMO) 

Eor the names and copyright information of these demo songs, 
refer to the JUNO-G's display. 

All rights reserved. Unauthorized use of this material for purposes 
other than private, personal enjoyment is a violation of applicable laws. 

No data for the music that is played will be output from MIDI OUT. 



csm 

When you perform demo playback, any patch or performance 
you may have been editing will be lost. 



■# 



15 




JUNO-G_e.book IS'^-y 2006^2^130 ^ms ^ft2B#44-H- 




Various Performance Features 



Velocity 



The velocity — the force mth wfhich you play the keyboard — can 
affect the volume or timbre of a sound. 

Pitch Bend/Modulation Lever 

While playing the keyboard, move the lever to the left to lower the 
pitch of the currently selected patch, or to the right to raise its pitch 
(pitch bend). You can also apply vibrato by gently pushing the lever 
away from you (modulation). 

If you push the lever away from you and at the same time move it to 
the right or left, you can apply both effects at once. 





Pitch Bend Modulation 

Octave Shift 

You can shift the pitch of the keyboard in one-octave units over a 
range of +/-3 octaves. 

• In the MODE section, use OCTAVE [DOWN] [UP] to adjust the 
octave shift. 

• To return to the original pitch, press both buttons simultaneously. 



Transpose 



You can transpose the pitch of the keyboard in semitone steps, over a 
range of G-F# (-5- +6 semitones). 

• Hold down MODE [TRANSPOSE] and use [-] [+] to change the 
transposition. 

• To return to the original pitch, hold down [TRANSPOSE] and 
press both buttons simultaneously. 



(MEMO) 

The Octave Shift and Transpose settings are remembered even 
if you change patches or performances. 



Hold Pedal 

If an optional pedal smtch (DP series) is connected to the rear panel 
PEDAL HOLD jack, you can press the pedal to cause notes to sustain 
or "hold" even after their keys have been released. 




Control Pedal 

If an optional expression pedal or pedal switch (EV-5, DP series) is 
connected to the rear panel PEDAL CONTROL jack, you can use the 
pedal to control the volume or various function. 




For details on pedal settings, refer to Control Pedal Settings 

(p. 72). 



csm 

Use only the specified expression pedal or pedal switch (EV-5, 
DP series; sold separately). By connecting any other expression 
pedals, you risk causing malfunction and /or damage to the unit. 




16 




4^ 



JUNO-G_e.book IZ'^-y 2006^2^130 ^BH ^lt2©44^~- 




Overview of the JUNO-G 




How the JUNO-G Is Organized 



Basic Structure 

Broadly speaking, the JUNO-G consists of a controller section, a 
sound generator section, and a song recorder section. 

Audio Input 



Sample Event 



Song Recorder Section 



Audio Track 



Audio Track 
Recording 



B^M ■ ■ ■ ■ I Recording 

— ^ Pla\/hanl<- I ™ 



Playback 

nil 



Sample 



Sound Generator 
Section 



111 = 

Resampling 





s 


Recording 










■ Play 




f! 


!i! 


}} 




!! 


ffl 


ff 


!l! 


}} 







Controller Section (controllers such as keyboard, pitch bend lever, etc.) 



Controller Section 

This section consists of the keyboard, pitch bend/modulation lever, 
panel knobs and buttons, and D Beam controller. It also includes any 
pedals that may be connected to the rear panel. The performance 
information generated when you do things such as press/release a 
key, or depress the hold pedal is converted into MIDI messages and 
sent to the sound generator section, song recorder section, and/or an 
external MIDI device. 

Sound Generator Section 

The sound generator section produces the sound. It receives MIDI 
messages from the controller section and song recorder section and/ 
or from an external MIDI device, generates musical sound according 
to the MIDI messages that were received, and outputs the sound 
from the output jacks or headphones jack. 



Song Recorder Section 



This consists of MIDI tracks, which record keyboard and controller 
operations as MIDI messages, and audio tracks, which record the 
performance data (sample events) used to trigger audio phrases 
(samples). The recorded data is sent to the sound generator section, 
reproducing the performance. MIDI messages recorded on MIDI 
tracks can also be transmitted from the MIDI OUT connector to 
control external MIDI devices. 

Audio Track Recording 

Audio track recording lets you capture sound from a CD player or 
microphone connected to the audio input jacks into the sound 
generator section as a sample. Performance data for that sample is 
recorded on the song recorder's audio track as a sample event. 
The captured sample can be used in an audio track, or used in the 
same way as a sound generator waveform. You can also record the 
performance of the internal sound generator as a sample. 
The JUNO-G can load WAV or AIFF format wave files as samples 
via a USB connection. 



Classification of JUNO-G Sound Types 

When using the JUNO-G, you will notice that a variety of different 
categories come into play when working with sounds. What follows 
is a simple explanation of each sound category. 

Tones 

On the JUNO-G, the tones are the smallest unit of sound. However, 
it is not possible to play a tone by itself. The patch is the unit of 
sound which can be played, and the tones are the basic building 
blocks which make up the patch. 



Tone 



LF0 1 



LF0 2 




WG 



"^ 



TVF 



I..4. 



TVA 



Pitch 
Envelope 



TVF 
Envelope 



TVA 
Envelope 



111^ audio signal ^^ control signal 

Tones consist of the following five components. 

WG (Wove Generator) 

Specifies the PCM waveform (wave) that is the basis of the sound, 
and determines howr the pitch of the sound will change. 
The JUNO-G has 1267 different waveforms. All patches built into the 
JUNO-G consist of combinations of tones which are created based on 
these waveforms. 

* There are four wave generators for each rhythm tone (percussion 
instrument sounds). 

TVF (Time Variant Filter) 

Specifies how the frequency components of the sound will change. 

TVA (Time Variant Amplifier) 

Specifies the volume changes and the sound's position in a stereo 
soundfield. 

Envelope 

You use Envelope to initiate changes to occur to a sound over time. 
There are separate envelopes for Pitch, TVF (filter), and TVA 
(voliune). For example if you wish to modify the way in which the 
sound attacks or decays over time, you would adjust the TVA 
envelope. 

LFO (LovN^ Frequency Oscillator) 

Use the LFO to create cyclic changes (modulation) in a sound. The 
JUNO-G has two LFOs. You can use the LFO to apply an effect to 
either the WG (pitch), the TVF (filter), or the TVA (volume). When 
an LFO is applied to the WG pitch, a vibrato effect is produced. 
When an LFO is applied to the TVF cutoff frequency, a wah effect is 
produced. When an LFO is applied to the TVA volume, a tremolo 



■# 



17 




JUNO-G_e.book IS'^-y 2006^2^130 ^BH ^lt2©44^~- 



4^ 



Overview of the JUNO-G 




effect is produced. 

* LFO is not included in the rhythm tones (percussion instrument 
sounds). 

Patches 

Patches are the basic sound configurations that you play during a 
performance. Each patch can be configured by combining up to four 
tones. How the four tones are combined is determined by the 
Structure Type parameter (p. 35). 



Patch 



Tone 4 



Tone 3 



Tone 2 




Tone 1 



LFO 2 



WG 


1..^ 


TVF 


1..^ 


TVA 



Pitch 
Envelope 



TVF 
Envelope 



TVA 
Envelope 



Rhythm Sets 



Rhythm sets are groups of a number of different percussion 
instrument sounds. Since percussion instruments generally do not 
play melodies, there is no need for a percussion instrument sound to 
be able to play a scale on the keyboard. It is, however, more 
important that as many percussion instruments as possible be 
available to you at the same time. Therefore, each key (note number) 
of a rhythm set will produce a different percussion instrument. 



Rhythm Set 



Note Number 98 (D7) 



Note Number 97 (C#7) 



Note Number 36 (C2) 



Note Number 35 (B1) 



Rhythm Tone (Percussion instrument sound) 

I WG I 111^ I TVF I 111^ I TVA I 



Pitch 
Envelope 



TVF 
Envelope 



TVA 
Envelope 



Each percussion instrument consists of the following four elements. 
(For details, refer to the explanations for "Tones.") 

• WG (Wave Generator); 1^ 

• TVF (Time Variant Filter) 

• TVA (Time Variant Amplifier) 

• Envelope 



Performances 

A performance has a patch or rhythm set assigned to each of the 16 

parts, and can simultaneously handle 16 sounds. 

The JUNO-G's performances are controlled via two screens; a Play 

screen and a Part Mixer screen (p. 58). 

Use the PLAY screen if you want to play two or more patches 

together (Layer) or play different patches in separate areas of the 

keyboard (Split). 

Use the MIXER screen if you want to "mix" by individually 

adjusting the pan and level settings for each of the sixteen parts. 

Because the JUNO-G sound generator can control multiple sounds 

(instruments), it is called a Multi-timbral sound generator. 



Performance 



LAYER/SPLIT 
MIXER 



Part 16 



1 


Parti 






Patch/ 
Rhythm Set 











Part 

On the JUNO-G, a "part" is something to which you assign a patch 
or rhythm set. In Patch mode you can assign a patch or rhythm set to 
the keyboard. In Performance mode, each performance has sixteen 
parts, and you can assign a patch or rhythm set to each part. 



■# 



18 




JUNO-G_e.book 19 '^-y 2006^2^130 ^WH ^ft2a#44-H- 



(^ 



Overview of the JUNO-G 



About Simultaneous Polyphony 

The JUNO-G can play a maximum of 128 sounds simultaneously. 
The following paragraphs discuss what this means, and what will 
happen when more than 128 simultaneous voices are requested from 
the JUNO-G. 

Calculating the Number of Voices 
Being Used 

The JUNO-G is able to play up to 128 notes simultaneously. The 
polyphony, or the number of voices (sounds) does not refer only to 
the number of patches actually being played, but changes according 
to the number of tones used in the patches, and the number of waves 
used in the tones. The foUomng method is used to calculate the 
number of sounds used for one patch being played. 

(Number of patches being played) x (Number of tones used by 
patches being played) x (Number of waves used in the tones) 
For example, a patch that combines four tones, each of which use 
two waves, will use eight notes of polyphony at once. Also, when 
playing in Performance mode, the number of sounds for each part is 
counted to obtain the total number of sounds for all parts. 

Hov\^ a Patch Sounds 

When the JUNO-G is requested to play more than 128 voices 
simultaneously, currently sounding notes will be turned off to make 
room for newly requested notes. The note with the lowest priority 
will be turned off first. The order of priority is determined by the 
Patch Priority setting (p. 34). 

Patch Priority can be set either to "LAST" or "LOUDEST." When 
"LAST" is selected, a newly requested note that exceeds the 128 
voice limit will cause the first-played of the currently sounding notes 
to be turned off. When "LOUDEST" is selected, the quietest of the 
currently sounding notes will be turned off. Usually, "LAST" is 
selected. 

Note Priority in Performance Mode 

Since Performance mode is usually used to play an ensemble 
consisting of several patches, it is important to decide which parts 
take priority. Priority is specified by the Voice Reserve settings (p. 
66). When a note within a patch needs to be turned off to make room 
for a nevf note, the Patch Priority setting of the patch will apply (p. 
34). 

Voice Reserve 

The JUNO-G has a Voice Reserve function that lets you reserve a 
minimum number of notes that will always be available for each 
part. For example if Voice Reserve is set to "10" for part 16, part 16 
will always have 10 notes of sound-producing capacity available to it 
even if a total of more than 128 notes (total for all parts) are being 
requested. When you make Voice Reserve settings, you need to take 
into account the number of notes you want to play on each part as 
well as the number of tones used by the selected patch (p. 66). 
It is not possible to make Voice Reserve settings that would cause the 
total of all parts to be greater than 64 voices. 



About Memory 



Patch and performance settings are stored in what is referred to as 
memory. There are three kind of memory: temporary, rewritable, 
and non-rewritable. 



JUNO-G 



Preset (PRST) 



Rhythm Set 
36 



Performance 
64 



Preset F (PR-F) 



Preset E (PR-E) 



Preset D (PR-D) 



Preset C (PR-C) 



Preset B (PR-B) 



Preset A (PR-A) 



Patch 
128 



Select 



System 



GM (GM2) 



Patch 
256 



Rhythm Set 
9 



Select 



User (USER) 



Patch 
266 



Rhythm Set 
32 



Performance 
64 



Select 



Write 



Temporary Area 



Select 



Write 



Rhythm Set 



Wave Expansion Board 



Select 



CARD Slot 1 










Patch 
256 












Rhythm Set 
32 












Performance 
64 











Memory Card 



* 1 The selected Patches/Rhythm Sets cannot be changed. 

Temporary Memory 
Temporary Area 

This is the area that holds the data for the patch or performance that 

you've selected using the panel buttons. 

When you play the keyboard or play back a sequence, sound is 

produced based on data in the temporary area. When you edit a 

patch or performance, you do not directly change the data in 

memory; rather, you call up the data into the temporary area, and 

edit it there. 

Settings in the temporary area are temporary, and will be lost when 

the power is turned off or when you select another patch/ 

performance. To keep the settings you have changed, you must write 

them into rewritable memory. 




19 




JUNO-G_e.book ZC^-y 2006^2^130 ^WH ^ft2a#44-H- 



Overview of the JUNO-G 



Re^vritable Memory 
System Memory 

System memory stores system parameter settings that determine 
how the JUNO-G functions. 

User Memory 

User memory is the internal memory area that holds patches, 
performances, samples, and performance data. 

Memory Cord 

You can use a memory card to store patches, performances, samples, 
and performance data just as you can in User memory. 

Non-Revs^ritable Memory 
Preset Memory 

Data in Preset memory cannot be rewritten. Howrever, you can call 
up settings from preset memory into the temporary area, modify 
them and then store the modified data in rewritable memory (except 
GM2). 

Wove Expansion Board (SRX Series) 

The JUNO-G can be equipped with a Wave Expansion Board (SRX 
series; sold separately). Wave Expansion Boards contain Wave data, 
as well as patches and rhythm sets that use this Wave data, which 
can be called directly into the temporary area and played. 



About the Onboard Effects 



Effect Types 



The JUNO-G has built-in effect units, and you can independently 
edit each unit's settings. 

Multi-Effects 

The multi-effects are multi-purpose effects that completely change 
the sound type by changing the sound itself. Contained are 78 
different effects types; select and use the type that suits your aims. In 
addition to effects types composed of simple effects such as 
Distortion, Hanger, and other such effects, you can also set up a 
wide variety of other effects, even connecting effects in series or in 
parallel. Furthermore, while chorus and reverb can be found among 
the multi-effects types, the following chorus and reverb are handled 
with a different system. In Performance mode, three types of multi- 
effect can be used simultaneously; these are referred to as MFXl, 
MFX2, and MFX3. In Patch mode you can use MFXl and MFX2. 

Chorus 

Chorus adds depth and spaciousness to the sound. You can select 
whether to use this as a chorus effect or a delay effect. 



Reverb 

Reverb adds the reverberation characteristics of halls or 
auditoriums. Five different types are offered, so you can select and 
use the type that suits your purpose. 



Mastering Effect 



This is a stereo compressor (limiter) that is applied to the final 
output of the JUNO-G. It has independent high, mid, and low 
ranges. Independently for the high-frequency, mid-frequency, and 
low-frequency regions, this compresses any sounds that exceed the 
specified level, making the volume more consistent. 

Hovs^ Effects Units Work in 
Different Modes 

in Patch Mode 

Multi-effects can be used individually by each patch and rhythm set. 
Chorus and reverb are each shared by patches and rhythm sets; the 
same effect applies to each tone. Adjusting the signal level to be sent 
to each effects unit (Send Level) provides control over the effect 
intensity that's applied to each tone. 



I Patch I 



uSL. 



-^ 



-^ Multi-Effects 



-^>- Chorus 
->" Reverb 



* To each part you can assign either a Patch or a Rhythm Set. 

in the Performance Mode 

The multi-effects, chorus and reverb can be set individually for each 
performance. The intensity of each effect will be set for each part. 
When you apply effects in Performance mode, the effect settings of 
the patch or rhythm set assigned to each part will be ignored, and 
the effect settings of the performance will be used. Thus, the effects 
for the same patch or rhythm set may differ when played in Patch 
mode and in Performance mode. However, depending on the 
settings, you can have effect settings for a patch or rhythm set 
assigned to a part applied to the entire performance. In addition, 
when using the multi-effects settings of a performance, you can use 
three different multi-effects simultaneously, depending on the effect 
type. 



I Performance/Multitimbre^ 



I Part 1 I 



I Patch I 



■^ 



-^ 



-^ 



-^ 



-^ 



-^-Multi-Effects 
—*■ Chorus 



-^- Reverb 




20 




JUNO-G_e.book 21 '^-y 200 6^2^130 ^BH ^lt2©4 4^~- 



4^ 



Overview of the JUNO-G 



About the Song Recorder 



The song recorder records performance data from the keyboard and 
controllers and performance data for the samples created by audio 
track recording, and manages this data as a "song." When you play 
back the song recorder, this performance data is sent to the sound 
generator, causing it to generate sound and reproduce the recorded 
performance. 



What Is a Song? 



For the JUNO-G, musical performance data for one song or 
composition is referred to as a song. This consists of the 
performance data recorded on the MIDI tracks (MIDI channels 1-16), 
the tempo track, the beat track, and audio tracks 1-4. 




Song 



(.SVQ) 



Tempo Track 



Sample 



AUDIO Tracks 



{.SVA) 



I A ^Li ^ AL- I 

I 'VrVfrr I 



sample event 
Up io 256 events can be placed in a track. 



Track settings are stored at the beginning of th 




What Is a Track? 



Each section of a song which stores musical performance data is 
called a track. 

MIDI Tracks 1-16 

MIDI tracks record your keyboard playing and controller operations 
as MIDI messages. When you play back a song, the MIDI tracks send 
these recorded MIDI messages to the sound generator, causing it to 
produce sound. MIDI tracks actually plays instruments instead of 
the musician, and since it can record a musical performance, it is a 
tape recorder as well. 

But in reality MIDI tracks doesn't record sound, but actually the 
steps that cause the sound generator to produce sound, so it offers 
several advantages. Sound quality is always excellent, the equivalent 
of first-generation tape, no matter how many times the data plays 
back; tempo changes have no effect on pitch; detailed editing is 
possible, etc. 

The MIDI tracks can record performance data for sixteen MIDI 
channels. In Performance mode, the sound generator's sixteen parts 
correspond to the sixteen MIDI channels. In Patch mode, the 
keyboard performance is recorded on MIDI channel 1 and the 
rhythm pattern performance is recorded on MIDI channel 10 (with 
the default settings). 

Audio Tracks 1 -4 

Audio tracks handle the samples you've captured by audio track 
recording, as well as imported samples. 

Even if you change the tempo during the song, audio tracks will be 
time-stretched so that they will continue playing in synchronization 
with the song. You can also play back from the middle of a sample. 
Audio tracks do not record the sample itself; they only contain 
information that tells the sound generator to "play USER (or CARD) 
sample number 'x' at this point." (This information is called a 
"sample event.") This means that even if you delete a sample event 
from the audio track, the sample data itself wrill remain. 
Up to 256 sample events can be placed on each audio track. 

* Each audio track can play back only one sample at a time. If there are 
overlapping sample events on an audio track, the sample event located 
later will he given priority. 



Tempo Track 



The Tempo track records tempo changes of a song over time. It can 
be used for tempo changes during a song. If a song has the same 
tempo from beginning to end, the Tempo track can be ignored. 
When a song is first recorded on the JUNO-G, a tempo setting at the 
time of recording will be stored at the beginning of the Tempo track. 
Therefore when song playback starts from the beginning, the song 
will always play back at this initial tempo. 

Thus playback tempo is determined by the Tempo track setting. If 
you modify the tempo during playback, the overall tempo of the 
song wiU be controlled by the setting you make. 

Beat Track 

The Beat track records the time signature of each measure of a song. 
Set the Beat track when recording a new song, or when you want to 
change time signature during a song. 



■# 



21 




JUNO-G_e.book 22 '^-y 200 6^2^130 ^BH ^lt2©4 4^~- 



4^ 



Overview of the JUNO-G 




Positions for Storing a Song 
Temporary Area 

The song recorder has an area called Temporary Area that can 
temporarily store one song. So we call this temporary song. 
The song in Temporary Area is volatile and will be lost when the 
power is turned off. To keep a song, you must save it to user 
memory or memory card. 

Memory Card/User Memory 

If you want to keep the song in Temporary Area that you recorded 
or edited, you must save it as a song file onto a memory card or into 
user memory. Either method lets you save up to 256 songs. 
A card and user memory can contain two file types. The three-letter 
symbol shown in parentheses ( ) is a file name extension that 
distinguishes the different file types. 

Song File (.SVQ, .SVA) 

Each song you create on the JUNO-G is saved as two files; a file •wiih 
a name consisting of the song name and an extension of ".SVQ" (the 
SVQ file), and a file with an extension of ".SVA" (the SVA file). The 
SVQ file contains mainly the data of the MIDI tracks. The SVA file 
contains mainly the audio track data (sample events). 

Standard MIDI File (.MID) 

standard MIDI File is a standard file format that allows sequencer 
data to be exchanged between most musical applications. JUNO-G 
files can be saved as Standard MIDI Files. This also allows you to 
play back commercially available music data (GM scores) that is 
compatible with the GM/GM2 system. 






Temporary Memory 



Temporary Area 



User Memory 



« |- Song file 



■ |- Standard MIDI file 



JUNO-G 



€ 



Memory Card 



Song fiie 



- Jf Standard MIDI fiie" 



About Audio Track Recording 



Audio track recording lets you record external input sources such as 
an audio device or microphone as digital audio data. A sound you 
record can be played as a patch (sample patch), or used as the 
waveform for a patch or drum set. You can also import WAV/AIFF 
format files and use them in the same wray. 



Samples 



A "sample" is a waveform (a piece of sound) obtained by recording 
an audio track on the JUNO-G. In addition to the actual waveform 
data itself, a sample also contains parameters such as start point, 
loop start, and loop end. The JUNO-G can hold 9,000 samples (User: 
2000, Card: 7000). 



Sample 



Audio 
Recording 



Added 
automatically 



Wave 
(Sample) 



Sample List 



0001 User Sample 
0002 



Where Samples ore Stored 

Samples that you record or import are stored in sample memory. 
This sample memory is temporary, and its data will be lost when 
you turn off the power. If you want to keep these samples, you must 
save them to user memory or a memory card. 

* You cannot save data to the preset memory. 




■# 



22 




JUNO-G_e.book ZS'^-y 200 6^2^130 ^BH ^ft2B#4 4-H- 




Basic Operation of the JUNO-G 



SvN^itching the Sound 
Generator Mode 



The JUNO-G has two sound generating modes; Patch mode. 
Performance mode. You can select the sound generating mode 
(state) that is most appropriate for how you are playing the JUNO-G. 
Use the following procedure to switch between these modes. 

Patch Mode 

This is the mode you'll use to play a single sound (patch/rhythm set) 

from the keyboard. 

The keyboard and sound generator are connected by a single MIDI 

channel. 

To select Patch mode 

1 . Press MODE [PATCH]. 



MjafeiiiJftWi 



[New 5on3 



Patch CUniHS SUD GS) HiisTER J = 1£0 4.^4 
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■SOUND MODIFV- 



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A A A A 



Performance Mode 

This mode allows you to combine multiple sounds (patches or 
rhythm sets). 

PERFORM PLAY screen 

Use this screen when you want to play iv/o or more sounds 
(patches/rhythm sets) together. 

You can play patches together (Layer) or divide the keyboard into 
two regions and play different patches in each region (Split). 

1 . Press MODE [PERFORM]. 



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MIXER screen 

Use this screen when you want to mix the sounds by adjusting the 
level and pan for each of the 16 parts. 

1 . Press MODE [PART MIXER]. 



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Part 

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(MEMO) 

The PERFORM PLAY screen and PART MIXER screen provide 
different views of the same performance. For example, you'll 
want to use the PERFORM PLAY screen when you're setting up 
a keyboard split, or use the PART MIXER screen when you're 
adjusting the effect settings or volume balance of the patches for 
each part. 



About the Function Buttons 



The six [KBD/ORG]-[VOCAL/PAD] buttons located below the 
display execute various functions (function buttons), and their 
operation will differ depending on the screen. Functions will be 
listed in the bottom of the screen. 



:§][¥][¥][¥][¥][¥][¥][¥] 



Windovsf 

The somewhat smaller screens that appear temporarily on top 
of the normal screens are called windows. Various types of 
windows appears according to the situation. Some display lists, 
others allow you to make settings, and still others ask you to 
confirm an operation. 



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Press [EXIT] to close the window. Some windows will close 
automatically when an operation is performed. 




23 




JUNO-G_e.book 24'^-y 2006^2^130 ^BH ^lt2©44^~- 



4^ 



Basic Operation of the JUNO-G 




Moving the Cursor 



A single screen or windows displays multiple parameters or items for 
selection. To edit the setting of a parameter, move the cursor to the 
value of that parameter. To select an item, move the cursor to that 
item. When selected mth the cursor, a parameter value or other 
selection is highlighted. 



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PE-fi:a3£ Bright Srand 
PE-fi:aa3 Soft Srand 
PE-R:0Q4 R'live Piano 
PE-fi:aa5 5oundChecK 
PE-fliaae jp-saa Piano 



Move the cursor with the [^], [^], [^] and [^] (cursor buttons). 
[^]: moves the cursor up. 
[^]: moves the cursor down. 
[^]: moves the cursor to the left. 
[^]: moves the cursor to the right. 

• If you hold dowrn one cursor button while you also press the 
cursor button for the opposite direction, the cursor will move 
more rapidly in the direction of the first-pressed cursor button. 

• When you press [ENTER], the value of the parameter selected 
by the cursor may appear in a list. This is convenient when you 
want to see what your choices are. 



Changing a Value 



To change the value, use the VALUE dial or the [INC] [DEC] 
buttons. 




□ □ 



In each screen of the JUNO-G, you can use the cursor buttons to 
move the area displayed as highlighted, and modify its value. 

VALUE Dial 

Turning the VALUE dial clockwise increases the value, 
counterclockwise decreases the value. 
• Holding down [SHIET] as you move the VALUE dial increases 
value increments so you can make large value changes faster. 



[INC] and [DEC] 



Pressing [INC] increases the value, and [DEC] decreases it. 

• Keep the button pressed for continuous adjustment. 

• For faster value increases, keep [INC] pressed down and press 
[DEC]. Eor decreasing value faster, keep [DEC] pressed down 



and press [INC]. 

If you press [INC] or [DEC] while holding down [SHIET], the 

value increments will get bigger. 



When the cursor is located at a parameter value, press [ENTER] 
to display a window where you can set the value. Use [^] ['W] 
to select a value, and then press [ENTER] to finalize the setting. 



Assigning a Name 



On the JUNO-G, you can assign names to each patch, rhythm set, 
performance. Song and Sample. The procedure is the same for any 
type of data. 



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1 . Press [^] [^] to move the cursor to the location where you 
wish to input a character. 

2. Turn the VALUE dial, or press [INC] [DEC] to specify the 
character. 

• [E2 (TYPE)]: Selects the type of character. Each time you 

press this, you will alternately select the first 
character of a character set: uppercase (A), 
lowercase (a), or numerals and symbols (0). 

• [E3 (DELETE)]: Deletes the character at the cursor location. 

• [E4 (INSERT)]: Inserts a space at the cursor location. 

• [^] or [^]: Move the cursor. 

• [.a], [^]: Switch between uppercase and lowercase 

letters. 

• If you decide to discard your input, press [F5 (CANCEL)]. 

Available Characters/Symbols 

space, A-Z, a-z, 0-9, !"#$%&~()» + ,-./:;< = >?@[\] ^^ 



Erom a naming screen you can press [MENU] and select "1. 
Undo" to return the name to what it was before you changed it. 
Erom [MENU] you can select "2. To Upper" or press [^] to 
change the character at the cursor to uppercase. Erom [MENU] 
you can select "3. To Lower" or press [^] to change the 
character at the cursor to lowrercase. Erom [MENU] you can 
select "4. Delete All" to clear all the characters you were 
inputting. 

Song file names may not contain lowercase characters or certain 
symbols (" * 4- ,./:;< = >?[ \ ] I ). 



■# 



24 




JUNO-G_e.book ZS'^-y 200 6^2^130 ^BH ^lt2©4 4-H- 



4^ 




Playing in Patch Mode 




Patch mode lets you play a single sound (patch/rhythm set) from 
the keyboard. 



About the PATCH PLAY Screen 



Press MODE [PATCH]. You will enter Patch mode, and the PATCH 
PLAY screen appears. 



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Functions in the PATCH PLAY Screen 



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1 . Indicates the current sound generating mode. 

2. Indicates multi-effects (MFX), chorus (CHO), reverb (REV), and 
mastering (MASTER) on and off. 

3. Indicates the name of the currently selected song, the measure location. 

4. Indicates the time signature, and the tempo. 

5. Indicates /selects the group, number, and name of the selected patch. 

6. Indicates the octave and transposition values. 

7. Indicates the patch category group. 

8. Positions of the five SONG RECORDER sHders 

9. SOUND MODIFY settings 



Patch/Rhythm Set Group 



The JUNO-G has several patch groups, including the User group and 
Preset groups A-F and GM, with each group storing 128 patches 
(256 in GM, USER). What's more, you can further expand your 
options by installing an optional Wave Expansion Board (SRX series; 
sold separately), enabling you to select from a huge assortment of 
available patches. There are also sample patches (USAM, CSAM) 
that can use samples as patches. 

USER 

This is the group inside the JUNO-G which can be rewritten. Patches 
you yourself create can be stored in this group. The JUNO-G 
includes 256 preset patches and 32 rhythm sets. 



PR-A-F (Preset A-F), PRST (Preset) 

This is the group inside the JUNO-G which cannot be rewritten. 
However you may modify the settings of the currently selected 
patch, and then store the modified patch in User memory. Groups 
A-F already contain 128 prepared patches each, for a total of 768 
patches. 

GM (General MIDI 2) 

This is an internal group of patches compatible with General MIDI 2, 
a system of MIDI function specifications designed to transcend 
differences between makers and types of devices; these patches 
cannot be overwritten. Furthermore, settings of currently selected 
patches from this group cannot be changed. The JUNO-G includes 
256 preset patches. 

CARD (Memory Card) 

This group lets you use patches stored on a memory card inserted in 
the rear panel card slot. Since the data in this group can be rewritten, 
you can use this group to store patches that you create. 

USAM (User Sample) 

You can use a sample from user memory as a patch (the Sample 
Patch function), and play the sample in a pitched fashion just as a 
conventional patch. 

* If there are no samples in memory, this will indicate " Empty. " 

* Since a stereo sample uses two adjacent sample numbers, you should 
choose the L-channel sample number (the lower number). It will play 
as a stereo patch. (If you choose the sample number for the R channel, 
" — " will be indicated for it, and it will not he playable. 

CSAM (Card Sample) 

You can use a sample from card memory as a patch (the Sample 
Patch function), and play the sample in a pitched fashion just as a 
conventional patch. 

* If there are no samples in memory, this will indicate "Empty. " 

* Since a stereo sample uses two adjacent sample numbers, you should 
choose the L-channel sample number (the lower number). It will play 
as a stereo patch. (If you choose the sample number for the R channel, 
" — " will be indicated for it, and it will not be playable. 

EXP (Wave Expansion Board installed in EXP Slot) 

These are groups used when using patches from Wave Expansion 
Board installed in the EXP slot, and cannot be rewritten. However 
you may modify the settings of the currently selected patch, and 
then store the modified patch in User memory and Memory card. 
The number of onboard patches depends on the specific Wave 
Expansion Board installed. 

* EXP patches can be selected only if a Wave Expansion Board (SRX 
series; sold separately) is installed in the slot. 



■# 



25 




JUNO-G_e.book ZS'^-y 200 6^2^130 ^ms ^ft2B#4 4-H- 



Playing in Patch Mode 



Selecting Patches in the 
Main Screen 



1 . Press MODE [PATCH] to access the PATCH PLAY screen. 

2. To switch patches or rhythm sets, move the cursor to the 
location shown below and use the VALUE dial or [INC] 
[DEC] to make your selection. 



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3. To select a patch (rhythm set) group, move the cursor to the 
location shown below and use the VALUE dial or [INC] 
[DEC] to make your selection. 



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4. Press [^ [-w] to move the cursor to the patch number. 

5. Use the VALUE dial or [INC] [DEC] to select a patch (or a 
rhythm set). 

Selecting Patches by Category 

The JUNO-G allowrs you to specify a type (category) of patch so that 
you can quickly find the desired patch. There are a total of 38 
categories. 

1 . Press MODE [PATCH] to access the PATCH PLAY screen. 

2. Move the cursor to the location shown below, and use the 
VALUE dial or [INC] [DEC] to select a category. 



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3. Press [^] to move the cursor one space to the left, and use 
the VALUE dial or [INC] [DEC] to lock the padlock symbol. 

* If you don't lock ("fl) the category (the padlock symbol 3) here, you 
won't he able to select patches by category. 

4. Use [^] [^ [^] [^] to move the cursor to the patch group/ 
number, and use the VALUE dial or [INC] [DEC] to select a 
patch. 

* If you didn't lock the category in step 3, you will step through the 
patch numbers in order. 



The following categories can be selected. 



Category 


Contents 


___ 


No Assign 


No assign 


PNO 


AC.Piano 


Acoustic Piano 


EP 


EL.Piano 


Electric Piano 


KEY 


Keyboards 


Other Keyboards (Clav, Harpsichord etc.) 


BEL 


Bell 


Bell, Bell Pad 


MET 


Mallet 


Mallet 


ORG 


Organ 


Electric and Church Organ 


ACD 


Accordion 


Accordion 


HRM 


Harmonica 


Harmonica, Blues Harp 


AGT 


AC. Guitar 


Acoustic Guitar 


EOT 


EL. Guitar 


Electric Guitar 


DGT 


Dist.Guitar 


Distortion Guitar 


BS 


Bass 


Acoustic & Electric Bass 


SBS 


Synth Bass 


Synth Bass 


SIR 


Strings 


Strings 


ORG 


Orchestra 


Orchestra Ensemble 


HIT 


Hit&Stab 


Orchestra Hit, Hit 


WND 


Wind 


Winds (Oboe, Clarinet etc.) 


FLT 


Elute 


Flute, Piccolo 


BRS 


AC.Brass 


Acoustic Brass 


SBR 


Synth Brass 


Synth Brass 


SAX 


Sax 


Sax 


PLK 


Plucked 


Plucked (Harp etc.) 


ETH 


Ethnic 


Other Ethnic 


FRT 


Eretted 


Fretted Inst (Mandolin etc.) 


BPD 


Bright Pad 


Bright Pad Synth 


SPD 


Soft Pad 


Soft Pad Synth 


VOX 


Vox 


Vox, Choir 


HLD 


Hard Lead 


Hard Synth Lead 


SLD 


Soft Lead 


Soft Synth Lead 


TEK 


Techno Synth 


Techno Synth 


PES 


Pulsating 


Pulsating Synth 


EX 


Synth EX 


Synth EX (Noise etc.) 


SYN 


Other Synth 


Poly Synth 


PRC 


Percussion 


Percussion 


SEX 


Sound EX 


Sound FX 


BTS 


Beat&Groove 


Beat and Groove 


DRM 


Drums 


Drum Set 


CMB 


Combination 


Other patches which use Split and Layer 



Using the Category Group 
Buttons to Select Patches 



You can use the category group buttons to quickly find the patch 
you want. The 38 categories and rhythm sets are organized into ten 
category groups that are assigned to these buttons. 

1 . Press MODE [PATCH] to access the PATCH PLAY screen. 



2. 



With [TONE SW/SEL] unlit, press one of the [RHYTHM]- 
[BASS] (category group buttons) to select the category 
group for the desired patch. 



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PE-Fi:aa6 JD-saa Piano 



3. Use [^] [^] to select the category. 




26 




JUNO-G_e.book ZZ'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Playing in Patch Mode 



4. Use the VALUE dial, [INC] [DEC], or [▲] [-w] to select a 
patch/rhythm set. 



Press [ENTER] to confirtn 


your selection. 


Category Group 


Category 


PIANO 


PNO 


AC.Piano 


EP 


EL.Piano 


ORG/KBD 


KEY 


Keyboards 


BEL 


Bell 


MLT 


Mallet 


ORG 


Organ 


ACD 


Accordion 


HRM 


Harmonica 


GUITAR 


AGT 


AC.Guitar 


EGT 


EL.Guitar 


DGT 


Dist.Guitar 


BASS 


BS 


Bass 


SBS 


Synth Bass 


ORCH 


STR 


Strings 


ORG 


Orchestra 


HIT 


Hit&Stab 


BRASS 


WND 


Wind 


ELT 


Elute 


BRS 


AC.Brass 


SBR 


Synth Brass 


SAX 


Sax 


SYNTH 


HLD 


Hard Lead 


SLD 


Soft Lead 


TEK 


Techno Synth 


PLS 


Pulsating 


EX 


Synth EX 


SYN 


Other Synth 


VOCAL/PAD 


BED 


Bright Pad 


SPD 


Soft Pad 


VOX 


Vox 


WORLD 


PLK 


Plucked 


ETH 


Ethnic 


FRT 


Eretted 


PRC 


Percussion 


SEX 


Sound EX 


BTS 


Beat&Groove 


DRM 


Drums 


CMB 


Gombination 


RHYTHM 


RHYTHM SET 



Selecting Patches from the 



You can display a list of patches and select a patch from that list. 

1 . Press IVIODE [PATCH] to access the PATCH PLAY screen. 

2. Press [ENTER]. 

The PATCH LIST screen appears. 



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3. To select a patch, press [F5 (PATCH)]. 

To select a rhythm set, press [F6 (RHYTHM)]. 

If you press [F6 (RHYTHM)], the RHYTHM LIST screen 
appears. 

4. Press [F1 (UP)] [F2 (DOWN)] to select a group. 

5. Use the VALUE dial, [INC] [DEC], or [.a.] [-▼'] to select a 
patch/rhythm set. 

6. Press [ENTER] to confirm your selection. 

Selecting Patches by Category 

1 . Press MODE [PATCH] to access the PATCH PLAY screen. 

2. Press [ENTER]. 

The PATCH LIST screen appears. 

3. Press [F4 (CATEG)]. 

The CATEGORY screen appears. 



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4. Press [F1 (UP)] [F2 (DOWN)] to select a category. 

5. Use the VALUE dial, [INC] [DEC], or [.a.] [-▼'] to select a 
patch. 

6. Press [ENTER] to confirm your selection. 




27 




JUNO-G_e.book ZS'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Playing in Patch Mode 



Selecting Favorite Patches/Rhythm 
Sets (Favorite Patch) 

In the patch mode, you can bring together your favorite and most 
frequently used patches (or rhythm sets) in one place by registering 
them in the favorite patch. By using this function, you can rapidly 
select favorite patches from Preset/User/Card area or a Wave 
Expansion Board. You can register a total of 64 sounds (8 sounds x 8 
banks) as favorite patches. 

Registering a Favorite Patch/Rhythm Set 

1 . In the PATCH PLAY screen, select the patch (or rhythm set) 
that you wish to register. 

2. Press [ENTER] to access the PATCH LIST screen. 

3. Press [F3 (FAVORIT)]. 

The FAVORITE PATCH screen appears. 



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4. Press [^] [^] to select the Bank. 

5. Use the VALUE dial, [INC] [DEC], or l^] [-w] to select a 
favorite number. 

6. Press [F2 (REGIST)] to execute the registration. 

7. Press [F3 (LIST)] to return to the PATCH LIST screen. 



You can hold down MODE [AUDITION] or [F5 (PREVIEW)] to 
audition the patch or rhythm set. 

Canceling a patch registration 

By pressing [Fl (REMOVE)] you can cancel the patch (or rhythm set) 
registration that is selected in the FAVORITE PATCH screen. 

Choosing the Favorite Patch/Rhythm Set 

1 . Press MODE [PATCH] to access the PATCH PLAY screen. 

2. Press [ENTER] to access the PATCH LIST screen. 

3. Press [Fl (FAVORIT)]. 

The FAVORITE PATCH screen appears. 

4. To change the Bank, use the VALUE dial or [^] [^]. 

5. Press [INC] [DEC] or [^ [-w] to select the patch. 

6. Press [F6 (SELECT)] or [ENTER] to confirm your selection. 



Auditioning a Patch or 
Rhythm Set (Phrase Previev\^) 



This function lets you audition a patch using a suitable phrase that's 
provided for each type (category) of patch. 



1. 



In the PATCH PLAY screen, PATCH LIST screen, RHYTHM 
LIST screen, FAVORITE PATCH screen, or CATEGORY 
screen, hold down MODE [AUDITION]. 

The patch (rhythm set) selected in the screen will play. 

The audition playback will stop when you take your finger 
off the [AUDITION] button. 



[3I> 

You can use the Preview Mode parameter to change the way in 

which Phrase Preview plays the sound, (p. 158) 



Transposing the Keyboard in 
Octave Units (Octave Shift) 



The Octave Shift function transposes the pitch of the keyboard in 1 
octave units (-3- +3 octaves). 

For playing a bass part more easily using your right hand, transpose 
the keyboard dowm by 1 or 2 octaves. 

• Octave Shift applies only to the keyboard part. 

1 . In the PATCH PLAY screen, press OCTAVE [-] or [+] to set 
the amount of transposition (-3- +3). 

The button will light if this is set. 

• Each time you press OCTAVE [+], the amount of transposition 
will change in the order of +1, +2, and +3. Each time you press 
OCTAVE [-], the amount of transposition will change in the 
order of -1, -2, and -3. 

• [UP] will light if the setting is +1, +2, or +3; [DOWN] will light if 
the setting is -1, -2, or -3. 

• Press both buttons simultaneously to return the setting to 0. 



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(MEMO) 

There is a single Octave Shift setting (Setup parameter) for the 
entire JUNO-G. The changed setting will be remembered even if 
you switch patches or performances. 




28 




JUNO-G_e.book 29 '^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



(^ 



Playing in Patch Mode 



Transposing the Keyboard in 
Semitone Steps (Transpose) 



Transpose changes keyboard pitch in units of semitones. 

This function is useful when you play transposed instruments such 

as trumpet or clarinet following a printed score. 



1. 



In the PATCH PLAY screen, hold down [TRANSPOSE] and 
press [-] or [+] to specify the amount of transposition (G- 
F#: -5-+6 semitones). 

[TRANSPOSE] will light if the setting is anything other than C. 
Hold down [TRANSPOSE] and press both buttons 
simultaneously to return the setting to C. 



(MEMO) 

There is a single Transpose setting (Setup parameter) for the 
entire JUNO-G. The changed setting will be remembered even if 
you switch patches or performances. 



Selecting the Tones That Will 
Sound (Tone On/Off) 



Since a patch is a combination of up to four tones, you can switch 
unwanted (tones out of the four) off and get just the sound of a 
specific tone. 

1 . In the PATCH PLAY screen, press [TONE SW/SEL] so the 
button is lit. 

2. Use SWITCH [1 ]-[4] to turn each tone on/off. 

Making the button light turns the tone on. 



If you want just one or two tones to sound in a patch, turn the 
others off and store that setting on a patch. This cuts 
nonessential use of the JUNO-G's simultaneous voices. 

3. Press [TONE SW/SEL] once again so its illumination is 
turned off. 



Playing Percussion 
instruments 



In Patch mode, you can play percussion instruments from the 
keyboard by selecting a rhythm set. As the rhythm tone assigned to 
each key varies by the rhythm set selected, you can play a wide 
range of percussion instruments. 



Adjusting the Volume 
Balance betv>^een the 
Keyboard Performance and 
the Rhythm Pattern 



1 . In the PATCH PLAY screen, hold down [SHIFT] and press 
[F4 (LEVEL)]. 

The PART LEVEL window appears. 



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2. Press [F4 (KBD)] (keyboard) or [F5 (PTN)] (rhythm pattern) 
to select a part. 

3. Use the VALUE dial or [INC] [DEC] to adjust the volume. 

4. Press [F6 (CLOSE)] to close the window. 




29 




JUNO-G_e.book SO'^-y 200 6^2^130 ^BH ^ft2B#4 4-H- 




Creating a Patch 



With the JUNO-G, you have total control over a wide variety of 
settings. Each item that can be set is known as a parameter. When 
you change the values of parameters, you are doing what is referred 
to as Editing. This chapter explains the procedures used in creating 
patches, and the functions of the patch parameters. 



Four Tips for Editing Patches 

Select a patch) tliat is similar to the sound you wish to 
create (p. 26) 

It's hard to create a new sound that's exactly what you 
want if you just select a patch and modify its parameters at 
random. It makes sense to start with a patch whose sound 
is related to what you have in mind. 

Decide which tones will sound (p. 29) 

Since a patch is a combination of up to any four tones, you 
should listen to how the individual tones sound before you 
edit. Then decide which tones you are going to use. It is 
important to turn off unused tones to avoid wasting voices, 
unnecessarily reducing the number of simultaneous notes 
you can play. 

Check the Structure setting (p. 35) 

The important Structure parameter determines how the 
four tones combine. Before you select new tones, make 
sure you understand howr the currently selected tones are 
affecting each other. 

Turn Effects off (p. 125) 

Since you will hear the original sound of the patch itself 
when the effects are turned off, the results of your 
modifications will be easier to hear. Actually, sometimes just 
changing effects settings can give you the sound you want. 



HovN^ to Make Patch Settings 



Using the Knobs to Edit the Sound 

You can use the six SOUND MODIFY knobs to edit the sound in real time. 

1 . Press MODE [PATCH] to access the PATCH PLAY screen. 

2. Select the patch whose settings you want to edit (p. 26). 



You cannot edit the patches in the GM2 group. 

Selecting the tone to edit 

3. In the PATCH PLAY screen, press [TONE SW/SEL] so the 
button is lit. 

4. Press SELECT[1]-[4] to select the tone(s) you want to edit. 

In the SOUND MODIFY 1^ area at the bottom of the screen, a 
check mark (^) will be added to the tone number(s) you select. 



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Patch CUniHS SUD GS) HiisTER J = 1£0 4.^4 
USEE: OCT: a TF;«HS:C fl (PNO) fic. P i ano 



[am Juno-G Grand 



IH 1 E 3 U 



■SOUND MODIFY lrTl - |gFI - rgFl - |gn - 



CUT RESO Fl D S R 

A A jft JC jft A 



fl D S P 

A A A A 



You can press multiple buttons simultaneously to select multiple tones. 

By turning TONE SWITCH on/off you can edit the sound while 
hearing only the desired tone. 



Changing the brightness of the sound and 
adding special qualities (CUTOFF/RESONANCE) 

The sound generator section of the JUNO-G contains a filter that can 
cut or boost specific frequency regions of the sound. The CUTOFF 
knob specifies the frequency (cutoff frequency) at which the filter 
will begin to modify the sound, and the RESONANCE knob boosts 
the region near the cutoff frequency to add a distinctive character to 
the sound. 

5. Turn the CUTOFF or RESONANCE knobs. 

Turning a knob toward the right increases the value. 

FREO: Frequency at which the filter begins to have an effect on 

the waveform's frequency components 

RESO: Emphasizes the portion of the sound in the region of the 

cutoff frequency, adding character to the sound 

* Excessively high settings can produce oscillation, causing the sound to 
distort. 

Editing the vs^ay that the volume vs^ill change 

The volume continues to change from the time a key is pressed to 
when it is released. 

6. Press the SOUND MODIFY select button to make AMP ENV 
light. 

7. Turn the ATTACK, DECAY, SUSTAIN, and RELEASE knobs. 

Turning a knob toward the right increases the value. 

A: Attack Time: The time from when the keyboard is pressed 

until the maximum tonal change is reached. 

D: Delay Time: The time from when the maximum tonal change 

is reached until the Sustain Level is reached. 

S: Sustain level: Volume that is sustained while you hold down 

the key 

R: Release Time: The time from when the keyboard is released 

until the sound disappears. 

* If you press the SOUND MODIFY select button so all of the 
indicators are off, turning these knobs will not produce any change. 

Editing the vs^ay that tone (brightness) vs^ill 
change 

The tone undergoes changes between the moment you press a key 
until you release it. 

8. Press the SOUND MODIFY select button to make FILTER 
ENV light. 

9. Turn the ATTACK, DECAY, SUSTAIN, and RELEASE knobs. 

Turning a knob toward the right increases the value. 

* If you press the SOUND MODIFY select button so all of the 
indicators are off, turning these knobs will not produce any change. 

Applying vibrato, vs^ah, or tremolo (LFO) 

The LFO, short for "low frequency oscillator," makes changes to the 
sound in periodic fashion. Vibrato is the effect produced by using 
the LFO to vary the pitch. Wah is the effect produced by using the 
LFO to vary the cutoff frequency. Tremolo is the effect produced by 
using the LFO to vary the volume. 




30 




JUNO-G_e.book 31 '^-y 200 6^2^130 ^BH ^lt2©4 4-H- 



4^ 



Creating a Patch 




■# 



1 0. Press the SOUND MODIFY select button to make LFO light. 

1 1 . Turn the ATTACK, DECAY, SUSTAIN, and RELEASE knobs. 
RATE: LFO RATE: Speed of LFO 1 

PIT: LFO Pitch Depth: Depth by which LFO 1 changes the WG 
pitch 

FLT: LFO TVF Depth: Depth by which LFO 1 changes the TVF 
cutoff frequency 

AMP: LFO TVA Depth: Depth by which LFO 1 changes the 
volume 



For details on these parameters, refer to Modulating Sounds/ 
Output (p. 46). 

* If you press the SOUND MODIFY select button so all of the 

indicators are off, turning these knobs will not produce any change. 

Editing in a Graphic Display 
(Zoom Edit) 

The important parameters most commonly used to edit the sound 
are available in eight screens for graphic editing. 



Parameter 


page 


Parameter 


page 


PITCH ENVELOPE 


p. 40 


PATCH EDIT 


p. 35 


TVF PARAMETER 


p. 40 


LFO 1/2 


p. 46 


TVF ENVELOPE 


p. 41 


STEP LFO 


p. 47 


TVA ENVELOPE 


p. 43 








- °Q 

flt n CSun at n ft • 



1 . Graphic display 

2. Move the cursor and use the VALUE dial or [INC] [DEC] 

3. Corresponds to SOUND MODIFY knobs 1-4. 

1 . Press MODE [PATCH] to access the PATCH PLAY screen. 

2. Select the patch whose settings you want to edit (p. 26). 

CEm 

You cannot edit the patches in the GM2 group. 

3. Press EDIT [PATCH] so It's lit. 

4. Use [F1]-[F4] to select the parameter screen. 

* Pressing [F5 (PAGE)] will switch the [F1]-[F4] screens. 

5. Use [^ Iw] [^] [^] to select a parameter. 

* Some parameters can be edited independently for each tone. To select 
the tone to edit, press [TONE SW/SEL] so it's lit, and press one of the 
SELECT [l]-[4] buttons. 

6. Use the VALUE dial or [INC] [DEC] to change the value. 

Parameters writh an indication of 1-4 can also be edited using 
the corresponding SOUND MODIFY knob 1-4. 

7. Repeat steps 4-6 to set each parameter. 



8. Press [WRITE] to save the changes you've made (p. 32). 
If you do not wish to save changes, press [EXIT] to return to 
the PATCH PLAY screen. 

If you return to the PATCH PLAY screen without saving, an "*" 
will be displayed at the left of the rhythm set group. 

If you turn off the power or select a different sound while the 
display indicates "*," your edited rhythm set will be lost. 



Vie^ving and editing all 
parameters (PRO EDIT) 



For details on the parameters, refer to p. 34 and follows. 

1 . Press MODE [PATCH] to access the PATCH PLAY screen. 

2. Select the patch whose settings you want to edit (p. 26). 

I7TST71 

You cannot edit the patches in the GM2 group. 

3. Press EDIT [PATCH] so It's lit. 

4. Press [F6 (PRO EDIT)]. 

5. Use [F2 (GRP t)] [F3 (GRP -L)] to switch the parameter group. 

* Pressing [Fl (GRP LIST)] will display the Patch Pro Edit Menu 
window. Use the VALUE dial or [INC] [DEC] [A.] [-w] to select a 
parameter group, and press [ENTER]. 

6. Use [.▲] [-w] to select a parameter. 

* A check mark (tO will be added to the tone number in the upper right 
of the screen. 



kiliMMvidMiM* KBD Part :n'1ive Piano: 
Cn] fsEi (=E3 (=□ 


F-Env Deptn 


n^ 


+3£ 


+34 


+34 


F-Env Time KF 
DF-Env Time1 m: 

F-Env Time£ 
BF-Env Times :d: 
HF-Env Time4 :e: 

F-Env Level a 


+30 

a 

£0 

110 

70 




+30 

a 

£0 

110 

70 



+30 



£0 

110 

70 



+30 



£0 

110 

70 



d^^Hai HdiliKJ Hdilil 


a 






^WMBUBII 



7. Use the VALUE dial or [INC] [DEC] to change the value. 

Parameters with an indication of 1-4 can also be edited using 
the corresponding SOUND MODIFY knob 1-4. 

8. Repeat steps 5-7 to set each parameter. 

9. Press [WRITE] to save the changes you've made (p. 32). 

If you do not wish to save changes, press [EXIT] to return to 
the PATCH PLAY screen. 

If you return to the PATCH PLAY screen without saving, an "*" 
will be displayed at the left of the rhythm set group. 

CEm 

If you turn off the power or select a different sound while the 
display indicates "*," your edited rhythm set will be lost. 



31 




JUNO-G_e.book Sa'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Creating a Patch 



Using the SOUND MODIFY Knobs 
to Change the Value 

If a number is displayed for the parameter name (1, 2, 3, 4), you can 
use the SOUND MODIFY knobs 1-4 to set the value. 

* Press the SOUND MODIFY select button so all of the indicators are 
off. If any indicator is lit, the knob functions will change. 
For example, in the TVF ENVELOPE ZOOM screen, the knobs 
correspond to parameters as follows. 



Knob 1 


A (Time 1) 


Knob 2 


D (Time 3) 


Knob 3 


S (Level 3) 


Knob 4 


R (Time 4) 



Initializing Patch Settings 

"Initialize" means to return the settings of the currently selected 
sound to a standard set of values. 

* The Initialize operation will affect only the currently selected sound; 
the sounds that are stored in user memory will not be affected. If you 
wish to restore all ofthe]UNO-G's settings to their factory values, 
perform a Factory Reset (p. 164). 

1 . With EDIT [PATCH] lit, hold down [SHIFT] and press [F5 (INIT)]. 

A message will ask you for confirmation. 

2. Press [F6 (EXEC)]. 

The initialization will be carried out. 

• To cancel, press [F5 (CANCEL)]. 

Copying Patch (Tone) Settings 

This operation copies the settings of any desired patch to the 
currently selected patch. 

1 . With EDIT [PATCH] lit, hold down [SHIFT] and press [F6 
(TONE COPY)]. 

The Patch Tone Copy window appears. 



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[New 5on3 



Patch CUniHS SUD GS) HiisTER J = 1£0 4.^4 
USEE: OCT= a TF;«HS=C a (PNO)fiC.Piano 



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Patch Tone Copy 



Dest i hat i onCTsmporary Patch] 
fl ' 1 i ve Piano Itoheij 



2. Press [.▲] [^ [^] [^] to move the cursor, and use the 
VALUE dial or [INC] [DEC] to select the "Source (copy- 
source)" group and number, and the tone. 

* By pressing [F4 (COMPR)] to add a check mark (•), you can check 
the copy-source patch (Compare function). 

3. Press [^ [■w\ [^] [^] to move the cursor, and select the 
"Destination (copy-destination)" tone. 

4. Press [F6 (EXEC)]. 

A message will ask you for confirmation. 



5. Press [F6 (EXEC)] to execute the copy operation. 

* To cancel, press [F5 (CANCEL)]. 



The Compare Function 

For the Patch Tone Copy and Patch Save operations, you can 

use the Compare function. 

If you want to play the copy-source or write-destination patch, 

press [F4 (COMPR)] to add a check mark (^). Now you can 

play the copy-source or write-destination patch from the 

keyboard. 

* The patch auditioned using the Compare function may sound 
slightly different than when it is played normally. 



Saving Patches YouVe 
Created (Write) 



Changes you make to sound settings are temporary, and will be lost 
if you turn off the power or select another sound. If you want to keep 
the modified sound, you must save it in the internal USER group 
(user memory) or CARD group (memory card). 
When you edit the patch settings, an "*" will appear in the PATCH 
PLAY screen. 



dan 

When you perform the save procedure, the data that previously 
occupied the save destination will be lost. 

1 . Edit the patch. 

2. Press EDIT [WRITE]. 

The WRITE MENU screen appears. 




3. Press [F2 (PAT/RHY)]. 

* Alternatively , you can use [^.] ]'w] to select "Patch/Rhythm," and 
then press [ENTER]. 
The PATCH NAME screen appears. 



USER:B01 I 

Juno-Q Grand 
K 

L 



4. Assign a name to the patch. 

For details on assigning names, refer to p. 24. 

5. When you have finished inputting the name, press [F6 
(WRITE)]. 

A screen will appear, allowing you to select the write- 
destination patch. 




32 




JUNO-G_e.book SS'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Creating a Patch 



6. Use the VALUE dial, [INC] [DEC], or [▲] [-w] and [F1 (USER)] 
[F2 (CARD)] to select the write destination and patch number. 

* By pressing [F4 (COMPR)] to add a check mark (•), you can check 
the write-destination patch (Compare function). 

7. Press [F6 (WRITE)]. 

A message will ask you for confirmation. 

8. Press [F6 (EXEC)] to execute the save operation. 

* To cancel, press [F5 (CANCEL)]. 

dan 

Never switch off the JUNO-G while data is heing saved. 

One-shot Waveform and Loop 
Waveform 

The internal wraveforms of the JUNO-G fall into the following two 

groups. 

One-shot: 

These waveforms contain sounds that have short decays. A one-shot 

waveform records the initial rise and fall of the sound. 

The JUNO-G also contains many other one-shot waveforms that are 

elements of other sounds. These include attack components such as 

piano-hammer sounds and guitar fret noises. 

* It is not possible to use the envelope to modify a one-shot waveform to 
create a decay that is longer than the original waveform, or to turn it 
into a sustaining sound. 

Loop: 

These waveforms include sounds with long decays as well as 

sustained sounds. Loop waveforms repeatedly play back (loop) the 

portion of the waveform after the sound has reached a relatively 

steady state. 

The JUNO-G's looped waveforms also include components of other 

sounds, such as piano-string resonant vibrations and the hollow 

sounds of brass instruments. 

The following diagram shows an example of sound (electric organ) 
that combines one-shot and looped waveforms. 

TVA ENV for looped Organ TVA ENV for one-shot Key Resulting TVA ENV 

waveform (sustain portion) -click waveform (attaci< portion) change 




Tips for Using an Acoustic Instrument's 
Waveform 

With many acoustic instruments such as piano and sax, extreme 
timbral changes occur during the first few moments of each note. 
This initial attack is what defines much of the instrument's character. 
For such waveforms, it is best to use the complex tonal changes of 
the attack portion of the waveform just as they are, and to use the 
envelope only to modify the decay portion. 



Level 

Tone change stored 
with the wave 



Envelope 
for the TVF filter 



Resulting 
tone change 



Looped portion 





33 




JUNO-G_e.book 34'^-y 2006^2^130 ^WH ^ft2a#44-H- 



(^ 



Creating a Patch 



Functions of Patch Parameters 



Settings Common to the Entire Patch 



GENEI^L 



Parameter marked with a "*" can be controlled using specified MIDI messages 

(Matrix Control, p. 44) 



Parameter 


Value 


Description 


Patch Category 


Refer to p. 26. 


Type (category) of the patch 


Patch Level 


0-127 


Volume of the patch 


Patch Pan 


L64-0-63R 


Left/right position of the patch 


Patch Priority 


LAST, LOUDEST 


How notes will be managed when the maximum polyphony is exceeded (128 voices) 

LAST: The last-played voices will be given priority (Notes will be turned off in order, beginning with the first- 
played note.) 

LOUDEST: The loudest voices will be given priority (Notes will be turned off, beginning with the lowest-volume 
voice.) 


Octave Shift 


-3- +3 


Pitch of the patch's sound (in units of an octave) 


Patch Coarse Tune * 


-48- +48 


Pitch of the patch's sound (in semitones, +/- 4 octaves) 


Patch Fine Tune 


-50- +50 


Pitch of the patch's sound (in 1-cent steps; one cent is 1/lOOth of a semitone) 


Stretch Tune Depth 


OFF, 1-3 


Stretched tuning (a system by which acoustic pianos are normally tuned, causing the lower range to be lower and the 
higher range to be higher than the mathematical tuning ratios would otherwise dictate) 

OFF: Equal temperament 

1-3: Higher settings will produce the greater difference in the pitch of the low and high ranges. 


Analog Feel 


0-127 


Depth of 1/f modulation (a pleasant and naturally-occurring ratio of modulation that occurs in a babbling brook or 
rustling wind) 

* You can simulate the natural instability characteristic of an analog synthesizer by adding this "1/f modulation." 



Stretched Tuning 

Pitch difference from 
equal temperament 

i 



OFF 

1 
2 
3 
Low note range 





High note range 




34 




JUNO-G_e.book SS'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



(^ 



Creating a Patch 



Changing Hovs^ a Tone Is Sounded (Structure) 



Parameter 



Value 



Struct 1 & 2, 3 & 4 
(Structure Type) 



TYPE 01-TYPE 10 



TYPE1 



T0NE1 (3) 



-£vf)- 



^) 



(- 



TONE 2 (4) 



-(tvf)- 



With this type, tones 1 and 2 (or 3 and 4) are independent. Use this type when 
you want to preserve PCM sounds or create and combine sounds for each tone. 



TYPES 




This type mixes the sound of tone 1 (3) and tone 2 (4), applies a filter, and then 
applies a booster to distort the waveform. 



TYPES 




This type uses a ring modulator to create new overtones, and combines the two 
filters. The tone 1 (3) TVA will control the volume balance of the two tones, ad- 
justing the depth of ring modulator. 



TYPE 7 




This type applies a filter to tone 1 (3) and ring-modulates it with tone 2 (4) to cre- 
ate new overtones. 



TYPE 9 






1 


[tone 1 (3) 


1wg>4tvfHtva|^ 




>li! 


[tone 2 (4) 


(wgHtvf) ^ 


^-^^] 


1 



This type passes the filtered sound of each tone through a ring modulator to cre- 
ate new overtones. The tone 1 (3) TVA will control the volume balance of the two 
tones, adjusting the depth of ring modulator. 



Explanation 



Determines how tone 1 and 2, or tone 3 and 4 are connected. 
The following 10 different Types of combination are available. 



TYPE 2 



(7oNeT{3)" ^^-^^^^^ 



[tone 2 (4) (WG 




tvfHtva 



This type stacks the two filters together to intensify the characteristics of the fil- 
ters. The TVA for tone 1 {or 3) controls the volume balance between the two 
tones. 



TYPE 4 




This type applies a booster to distort the waveform, and then combines the two 
filters. The TVA for tone 1 (or 3) controls the volume balance between the two 
tones and adjusts booster level. 



TYPE 6 




This type uses a ring modulator to create new overtones, and in addition mixes 
in the sound of tone 2 (4) and stacks the two filters. Since the ring-modulated 
sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of the 
ring-modulated sound. 



TYPES 




This type sends the filtered tone 1 (3) and tone 2 (4) through a ring modulator, 
and then mixes in the sound of tone 2 (4) and applies a filter to the result. 



TYPE 10 


1 


[tone 1 (3) 


(wgj^vfHtva^ _ ) 


>ia-^ 1 


TtONE 2 (4) 


(wgHtvf) ^ ^tva) I 


1 



This type passes the filtered sound of each tone through a ring modulator to cre- 
ate new overtones, and also mixes in the sound of tone 2 (4). Since the ring-mod- 
ulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount 
of the ring-modulated sound. 



Vihen TYPE 2-10 is selected and one tone of a pair is turned off, the other tone will he sounded as TYPE 1 regardless of the displayed setting. 

If you limit the keyboard area in which a tone will sound (Keyboard Range, p. 37) or limit the range of velocities for which it will sound (Velocity Range, p. 
38), the result in areas or ranges where the tone does not sound is just as if the tone had been turned off. This means that if TYPE 2-10 is selected and you 
create a keyboard area or velocity range in which one tone of a pair does not sound, notes played in that area or range will be sounded by the other tone as 
TYPE 1 regardless of the displayed setting. 




35 




JUNO-G_e.book 36^- 



2006^2^130 MtUB ^ft2a#44-» 



(^ 



Creating a Patch 



Parameter 



Value 



Explanation 



0, +6, +12, +18 When a Structure Type of TYPE 3 or TYPE 4 is selected, you can adjust the depth of the booster. The booster increases the 
input signal in order to distort the sound. This creates the distortion effect frequently used with electric guitars. Higher set- 
tings will produce more distortion. 



Booster 1&2, 3&4 
{Booster Gain) 



Booster 

The Booster is used to distort the incoming signal. 




Booster level 




In addition to using this to create distortion, you can use the waveform 
(WGl) of one of the tones as an LFO which shifts the other waveform 
(WG2) upward or downward to create modulation similar to PWM (pulse 
width modulation). This parameter works best when you use it in 
conjunction with the Wave Gain parameter (p. 38). 



Uses WGl as LFO Adjusts WGl output 



[ WG1 J -Ttva 

[wG2 y 



K™\^^^ 



WG2 



Adds to WGl 




Distorted area of the 
Waveform changes 



Shift in waveform by WGl 



Ring Modulator 

A ring modulator multiplies the waveforms of two tones with each other, 
generating many new overtones (in harmonic partials) which were not 
present in either waveform. (Unless one of the waveforms is a sine wave, 
evenly-spaced frequency components will not usually be generated.) 
As the pitch difference between the two waveforms changes the harmonic 
structure, the result will be an tmpitched metallic sound. This function is 
suitable for creating metallic sounds such as bells. 







X = 




MODIFY 

These values are added to the parameter values of each tone. 



Parameter 


Value 


Description 


Cutoff Offset 


-63- +63 


Cutoff Frequency (p. 40) 


Resonance Offset 


-63- +63 


Resonance (p. 40) 


Attack Time Offset 


-63- +63 


F-Env Time 1, A-Env Time 1 (p. 41, p. 43) 


Release Time Offset 


-63- +63 


F-Env Time 4, A-Env Time 4 (p. 41, p. 43) 


Velocity Sens Offset 


-63- +63 


Cutoff V-Sens, Level V-Sens (p. 41, p. 42) 




36 




JUNO-G_e.book SZ'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Creating a Patch 



PORTAMENTO 

Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key. 



Parameter 


Value 


Explanation 


Portamento Switch 


OFF, ON 


Specifies whether the portamento effect will be applied (ON) or not (OFF). 


Portamento Mode 


NORMAL, LEGATO 


NORMAL: Portamento will always be applied. 

LEGATO: Portamento will be applied only when you play legato. 


Portamento Type 


RATF, TIME 


RATE: The time it takes will depend on the distance between the two pitches. 

TIME: The time it takes will be constant, regardless of how far apart in pitch the notes are. 


Portamento Start 


PITCH, NOTE 


PITCH: Starts a new portamento when another key is pressed while the pitch is changing. 
NOTE: Portamento will begin anew from the pitch where the current change would end. 


Portamento Time 


0-127 


Specifies the time over which the pitch will change. 



Portamento Start: PITCH 



Portamento Start: NOTE 




I press D4 key 
press C5 key 



Time 




press C4 key 



Time 



press D4 key 
press C5 key 



press C4 key 



CONTROL 

Parameter 

Mono /Poly 

Legato Switch 
Legato Retrigger 



Pitch Bend Range Up 



Value 

MONO, POLY 

OFF, ON 
OFF, ON 



0-+48 



Pitch Bend Range Down 



-48-0 



Explanation 

MONO: Only the last-played note will sound. This setting is effective when playing a solo instrument patch 

such as sax or flute. 

POLY: Two or more notes can be played simultaneously. 

ON: Pressing a key while continuing to press a previous key causes the note to change pitch to the pitch of the 
most recently pressed key, sounding all the while. This is effective when you wish to simulate the hammering- 
on and puUing-off techniques used by a guitarist. 

* Legato Switch is valid when the Mono/Poly parameter is set to "MONO." 

OFF: When one key is held down and another key is then pressed, only the pitch changes, without the attack 
of the latter key being played. Set this to "OFF" when performing wind and string phrases or when using mod- 
ulation with the mono synth keyboard sound. 
ON: Normally you will leave this parameter "ON." 

* Legato Retrigger is valid when the Mono/Poly is set to "MONO" and the Legato Sivitch is set to "ON." 



Degree of pitch change in semitones when the Pitch Bend lever is all the way right 



Degree of pitch change in semitones when the Pitch Bend lever is all the way left 



KEY RANGE 

You can use the note number to control the way each Tone is played. 



The tone sounded 
in the lower range 



The tone sounded 
in the upper range 



III 
ID 



HI 
■ u 



III III III III III III II II I III III I III III I II III III III III III I 

iTrhrliTrlirli'rTirhTrlirhTrhr ■ 



Key Fade Lower 

Key Range Lower 



Key Fade Upper 
Key Range Upper 



Parameter 


Value 


Explanation 


Key Fade Lower 


0-127 


Determines what will happen to the tone's level when a note that's lower than Key Range Lower is played. 
If you don't want the tone to sound at all, set this parameter to "0." 


Key Range Lower 


C- -(Upper) 


Specifies the lowest note that the tone will sound for each tone. 


Key Range Upper 


(Lower)-G9 


Specifies the highest note that the tone will sound for each tone. 


Key Fade Upper 


0-127 


Determines what will happen to the tone's level when a note that's higher than Key Range Upper is played. 
If you don't want the tone to sound at all, set this parameter to "0." 




37 




JUNO-G_e.book SS'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Creating a Patch 



VELOCITY RANGE 

You can use the force with which keys are played to control the way each Tone is played. 



The tone sounded 
when you play softly 



The tone sounded 
when you play strongly 



Velocity 



Velo Fade Lower 

Velo Range Lower 



Velo Fade Upper 
Velo Range Upper 



Parameter 


Value 


Explanation 


Tone Mix Velo Con- 
trol 


OFF, ON, 

RANDOM, 

CYCLE 


Determines whether a different tone is played (ON) or not (OFF) depending on the force with which the key is played 
(velocity). 

RANDOM: The patch's constituent tones will sound randomly, regardless of any Velocity messages. 

CYCLE: The patch's constituent tones will sound consecutively, regardless of any Velocity messages. 


Control Switch 


OFF, ON 


Use the Matrix Control (p. 44) to enable (ON), or disable (OFF) sounding of different tones. 


Velo Fade Lower 


0-127 


Determines what will happen to the tone's level when the tone is played at a velocity lower than Velo Range Lower. 
If you don't want the tone to sound at all, set this parameter to "0." 


Velo Range Lower 


l-(Upper) 


Specifies the lowest velocity at which the tone will sound. 


Velo Range Upper 


(Lower)-127 


Specifies the highest velocity at which the tone will sound. 


Velo Fade Upper 


0-127 


Determines what will happen to the tone's level when the tone is played at a velocity greater than Velo Range Upper. 
If you don't want the tone to sound at all, set this parameter to "0." 



(MEMO) 

When using the Matrix Control to have different tones played, set the lowest value (Lower) and highest value (Upper) of the value of the 
MIDI message used. 

CEm 

Instead of using Velocity, you can also have tones suhstituted using the Matrix Control. However, the keyboard velocity and the Matrix 
Control cannot be used simultaneously to make different tones to sound. When using the Matrix Control to switch tones, set the Tone Mix 
Velo Control parameter to "OFF." 



Modifying Waveforms/Pitch/Pitch Envelope 



WAVE PAI^METER 



Parameter 


Value 


Explanation 


Wave Group 


INT, EXP, 
SAMP 


Group for the waveform that is to be the basis of the tone 
INT: Waveforms stored in internal 

EXP: Waveform stored in a Wave Expansion Board (SRX series) installed in EXP slots 
SAIVIP: Sample waveforms 


Wave Bank 


PRST, USER, 
CARD 


When the Wave Group is SAMP: PRST, USER, CARD 
When the Wave Group is MSAM: USER, CARD 


Wave No. L (Mono) 
Wave No. R 


— , 1-1267 


Basic waveform for a tone (The upper limit will depend on the wave group.) 

When in monaural mode, only the left side (L) is specified. When in stereo, the right side (R) is also specified. 

If you want to select a left/right pair of Waves, select the left (L) Wave number, and then hold down [SHIFT] and 

press [F4 (STEREO)] to add a check mark (•); the right (R) (Wave) will be recalled. 


Wave Gain 


-6, 0, +6, +12 


Gain (amplification) of the waveform 

The value changes in 6 dB (decibel) steps — an increase of 6 dB doubles the waveform's gain. 

* If you intend to use the Booster to distort the waveform's sound, set this parameter to its maximum value (p. 36). 


Wave Tempo Sync 


OFF, ON 


When you wish to synchronize a Phrase Loop to the clock (tempo), set this to "ON." 

• This is valid only when a separately sold wave expansion board is installed, and a waveform that indicates a tempo (BPM) is 
selected as the sample for a tone. 

If a waveform from a wave expansion board is selected for the tone, turning the Wave Tempo Sync parameter "ON" 
will cause pitch-related settings and FXM-related settings to be ignored. 

• If a sample is selected for a tone, you must first set the BPM (tempo) parameter of the sample. 

• If a sample is selected for a tone. Wave Tempo Sync will require twice the normal number of voices. 

• When this parameter is set to "ON," set the Tone Delay Time parameter (p. 45) to "0." 




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Creating a Patch 



Phrase Loop 

Phrase loop refers to the repeated playback of a phrase that's 
been pulled out of a song (e.g., by using a sampler). One 
technique involving the use of Phrase Loops is the excerpting of 
a Phrase from a pre-existing song in a certain genre, for example 
dance music, and then creating a nevf song with that Phrase 
used as the basic motif. This is referred to as "Break Beats." 



Realtime Time Stretch 

If the wave group is "SAMP" or "MSAM," and the Wave 
Tempo Sync parameter is turned "ON," you can vary the 
playback speed of the waveform without affecting the pitch. 



Parameter marked with a "*" can be controlled using specified MIDI messages 

(Matrix Control, p. 44) 



Parameter 


Value 


Explanation 


FXM Switch 


OFF, ON 


This sets whether FXM will be used (ON) or not (OFF). 


FXM Color 


1-4 


How FXM will perforin frequency modulation 

tligher settings result in a grainier sound, while lower settings result in a more metallic sound. 


FXM Depth • 


0-16 


Depth of the modulation produced by FXM 



FXM 

FXM (Frequency Cross Modulation) uses a specified waveform 
to apply frequency modulation to the currently selected 
waveform, creating complex overtones. This is useful for 
creating dramatic sounds or sound effects. 



WAVE PITCH 



Parameter marked with a "*" can be controlled using specified MIDI messages 

(Matrix Control, p. 44) 



Parameter 


Value 


Explanation 


Tone Coarse Tune Ik- 


-48- +48 


Pitch of the tone's sound (in semitones, +/-4 octaves) 


Tone Fine Tune * 


-50- +50 


Pitch of the tone's sound (in 1-cent steps; one cent is 1 /100th of a semitone) 


Rand Pitch Depth 


0-1200 


Width of random pitch deviation that will occur each time a key is pressed (in 1-cent steps) 
If you do not want the pitch to change randomly, set this to "0." 


Pitch Keyfollow 


-200- +200 


Amount of pitch change that will occur when you play a key one octave higher 

If you want the pitch to rise one octave as on a conventional keyboard, set this to "+100." If you want the pitch to rise 
two octaves, set this to "+200." 


P-Env V-Sens 


-63- +63 


Keyboard playing dynamics can be used to control the depth of the pitch envelope. 

If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a positive (+) value. 


P-Env Tl V-Sens 


-63- +63 


This allows keyboard dynamics to affect the Tl of the Pitch envelope. 

If you want Tl to be speeded up for strongly played notes, set this parameter to a positive (+) value. 


P-Env T4 V-Sens 


-63- +63 


Use this parameter when you want key release speed to affect the T4 value of the Pitch envelope. 

If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. 


P-Env Time KF 
(Time Keyfollow) 


-100- +100 


Use this setting if you want the pitch envelope times (T2-T4) to be affected by the keyboard location. 

Based on the pitch envelope times for the C4 key, positive (+) settings will cause notes higher than C4 to have increas- 
ingly shorter times. 



ch Pitch Keyfollow 








/ +200 


/+100 
^+50 




^ 




^ -50 




\ 


\ -200 


\-100 . 



Time 



Time Keyfollow 



C1 




22 


C3 


C4 


C5 


C6 


C7 




! 




II! 


II 


III 




III 




III 




III 




III 




III 



Key 




C1 




32 


C3 


C4 


C 


;5 


C6 


C7 




1 




III 


II 


III 




III 




III 


II 


III 




III 




III 



Key 




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Creating a Patch 



WAVE PITCH ENV 



Parameter marked with a "*" can be controlled using specified MIDI messages 

(Matrix Control, p. 44) 



Parameter 


Value 


Explanation 


P-Env Depth 


-12- +12 


Depth of the Pitch envelope 

Higher settings will cause the pitch envelope to produce greater change. Negative (-) settings will invert the shape of 
the envelope. 


P-Env Time 1-4 * 


0-127 


Pitch envelope times {T1-T4) 

Higher settings will result in a longer time until the next pitch is reached. 


P-Env Level 0^ 


-63- +63 


Pitch envelope levels (L0-L4) 

Specify how the pitch will change at each point, relative to the pitch set with Coarse Tune or Fine Tune. 



Pitch Envelope 



+ 




11 

A 


12 

■4 ^ 

I 


13 

■^ ^ 






14 

-^ ^ 




Pitch 


Lo: 


V 


\ 


/ 


r 


\ 






i L1 V/ L3 

Note on V 


^ \ 

Note off V 


— 






L 


2 






L 


4 



Time 



Modifying the Brightness of a Sound v^ith a Filter (TVF/TVF Envelope) 

A filter cuts or boosts a specific frequency region to change a sound's brightness, thickness, or other qualities. 



TVF PARAMETER 



Parameter marked with a "i^' 



car\ be controlled using specified MIDI messages 
(Matrix Control, p. 44) 



Parameter 



Value 



Filter Type 



OFF, LPF, 
BPF, HPF, 
PKG, 
LPF2, 
LPF3 



Cutoff Frequency * 



0-127 



Resonance ■*■ 



Cutoff Keyfollow 



0-127 
-200- +200 



Explanation 



Type of filter 

OFF: No filter is used. 

LPF: Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency in order to round off, or un- 

brighten the sound. 

BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency, and cuts the rest. This can 

be useful v^^hen creating distinctive sounds. 

HPF: High Pass Filter. This cuts the frequencies in the region belov^? the cutoff frequency. This is suitable for creating 

percussive sounds emphasizing their higher tones. 

PKG: Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency. You can use this to create 

wah-wah effects by employing an LFO to change the cutoff frequency cyclically. 

LPF2: Low Pass Filter 2. Although frequency components above the Cutoff frequency are cut, the sensitivity of this filter 

is half that of the LPF. This filter is good for use with simulated instrument sounds such as the acoustic piano. 

LPF3: Low Pass Filter 3. Although frequency components above the Cutoff frequency are cut, the sensitivity of this filter 

changes according to the Cutoff frequency. While this filter is also good for use with simulated acoustic instrument 

sounds, the nuance it exhibits differs from that of the LPF2, even with the same TVF Envelope settings. 
* If you set "LPF2" or "LPF3/' the setting for the Resonance parameter will be ignored. 



Frequency at which the filter begins to have an effect on the waveform's frequency components 



Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound 

* Excessively high settings can produce oscillation, causing the sound to distort. 

Use this parameter if you want the cutoff frequency to change according to the key that is pressed. 

Relative to the cutoff frequency at the C4 key (center C), positive (+) settings will cause the cutoff frequency to rise for 
notes higher than C4, and negative (-) settings will cause the cutoff frequency to fall for notes higher than C4. Larger 
settings will produce greater change. 




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Creating a Patch 



LPF 



Resonance 

BPF HPF 



Level 
High ' 



Frequency 



Cutoff frequency 



Low 



lU 



PKG 



A t- 

i^J w~ I li w- 



irz 



Cutoff frequency Cutoff Keyfollow 

(Octave) 



V : \ : : /"'°° /.100 




iS-^^^Ti^ 




i^^t^ vi^^ 


-2 


^^ \ / \ . \ -2bo ^\-100 . 



C1 




D2 


C3 


C4 


C5 


C6 


C7 


Key 


1 


1 


!!l 


1! 


!!l 




1!! 


1 


1!! 


1 


!!l 




1!! 




1!! 



Parameter 

Cutoff V-Curve 



Cutoff V-Sens 
Resonance V-Sens 



F-Env V-Curve 



F-Env V-Sens 



F-Env Tl V-Sens 



F-Env T4 V-Sens 



Value 

FIX, 1-7 



-63- +63 
-63- +63 



FIX, 1-7 



-63- +63 



-63- +63 



-63- +63 



Explanation 

Curve that determines how keyboard playing dynamics (velocity) will affect the cutoff frequency 
Set this to "FIX" if you don't want the Cutoff frequency to be affected by the keyboard velocity. 



1 



Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. If you want 
strongly played notes to raise the cutoff frequency, set this parameter to positive {+) settings. 
This allows keyboard velocity to modify the amount of Resonance. 

If you want strongly played notes to have a greater Resonance effect, set this parameter to positive {+) settings. 



Curve that determines how keyboard playing dynamics (velocity) will affect the TVF envelope 
Set this to "FIX" if you don't want the TVF Envelope to be affected by the keyboard velocity. 

12 3 4 5 6 7 

Specifies how keyboard playing dynamics will affect the depth of the TVF envelope. 

Positive {+) settings will cause the TVF envelope to have a greater effect for strongly played notes, and negative (-) set- 
tings will cause the effect to be less. 

This allows keyboard dynamics to affect the Tl of the TVF envelope. 

If you want Tl to be speeded up for strongly played notes, set this parameter to a positive {+) value. 



Use this parameter when you want key release speed to affect the T4 value of the TVF envelope. 

If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. 



TVF ENVELOPE 



Parameter 

F-Env Depth 



F-Env Time KF 
(Time Keyfollow) 

F-Env Time \-^ * 



Value 

-63- +63 



-100- +100 



0-127 



Parameter marked with a "*" can be controlled using specified MIDI messages 

(Matrix Control, p. 44) 

Explanation 

Depth of the TVF envelope 

Higher settings will cause the TVF envelope to produce greater change. Negative (-) settings will invert the shape of the 

envelope. 

Use this setting if you want the TVF envelope times (T2-T4) to be affected by the keyboard location. 

Based on the TVF envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have 

increasingly shorter times. 

TVF envelope times (T1-T4) 

Higher settings will lengthen the time until the next cutoff frequency level is reached. 



F-Env Level 0-4 



0-127 



TVF envelope levels (L0-L4) 

Specify how the cutoff frequency will change at each point, relative to the Cutoff Frequency value. 




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Creating a Patch 



TVF Envelope 

T1 T2 T3 

+ 



Time 



Time Keyfollow 



T4 



Cutoff 
Frequency 




A L4 

Note off 



Time 




C1 C2 C3 C4 C5 C6 C7 '^^^ 



Adjusting the Volume (TVA/TVA Envelope) 



TVA PAI^METER 



Parameter 

Tone Level * 



Level V-Curve 



Level V-Sens 



Bias 

Bias Level 



Bias Position 



Bias Direction 



Parameter marked with a "*" can be controlled using specified MIDI messages 

(Matrix Control, p. 44) 



Value 

0-127 



FIX, 1-7 



-63- +63 



Explanation 

Volume of the tone. 

This setting is useful primarily for adjusting the volume balance between tones. 
Curve that determines how keyboard playing dynamics (velocity) will affect the volume 

Set this to "FIX" if you don't want the volume of the tone to be affected by the keyboard velocity. 



12 3 4 5 6 7 

Set this when you want the volume of the tone to change depending on keyboard playing dynamics. 

Set this to a positive {+) value to have the changes in tone volume increase the more forcefully the keys are played; to 
make the tone play more softly as you play harder, set this to a negative {-) value. 



Bias causes the volume to be affected by the keyboard position. This is useful for changing volume through keyboard position (pitch) when 
playing acoustic instruments. 



-100- +100 



C--G9 



LWR, UPR, 
L&U, ALL 



Angle of the volume change that will occur in the selected Bias Direction 

Larger settings will produce greater change. Negative (-) values will invert the change direction. 



Key relative to which the volume will be modified 



Direction in which change will occur starting from the Bias Position 

LWR: The volume will be modified for the keyboard area below the Bias Point. 

UPR: The volume will be modified for the keyboard area above the Bias Point. 

L&U: The volume will be modified symmetrically toward the left and right of the Bias Point. 

ALL: The volume changes linearly with the bias point at the center. 



LWR 



Level 




Bias 



UPR 



Level 



Key 



Position G9 



Bias 



L&U 



ALL 



Level 



Key 




Level 



- Key 




Position Q9 



Bias Position eg 



Bias 



Key 



Position G9 



Parameter 


Value 


Explanation 


Tone Pan * 


L64-0-63R 


Left/right position of the tone 


Pan Keyfollow 


-100- +100 


Use this parameter if you want key position to affect panning. 

Positive (+) settings will cause notes higher than C4 key (center C) to be panned increasingly further toward the right, 
and negative (-) settings will cause notes higher than C4 key (center C) to be panned toward the left. Larger settings 
will produce greater change. 




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Creating a Patch 



Pan Keyfollow 




C1 




32 


C3 


C4 


C5 


C6 


C7 




1 




1!! 


!! 


1!! 


1 


!!l 


1 


!!l 




1!! 


1 


1!! 


1 


III 



Parameter 


Value 


Explanation 


Random Pan Depth 


0-63 


Use this parameter when you want the stereo location to change randomly each time you press a key. 
Higher settings will produce a greater amount of change. 


Alter Pan Depth 


L63-0-63R 


This setting causes panning to be alternated between left and right each time a key is pressed. 

Higher settings will produce a greater amount of change. "L" or "R" settings will reverse the order in which the pan 
will alternate between left and right. For example if two tones are set to "L" and "R" respectively, the panning of the 
two tones will alternate each time they are played. 

* When any value from Type "2"-"10" is selected for the Structure parameter in the Pan KF, Rnd Pan Depth, Alter Pan Depth 
parameter settings, the output of tones 1 and 2 are joined in tone 2, and the output of tones 3 and 4 are joined in tone 4. For this 
reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 35). 



TVA ENVELOPE 



Parameter marked with a "*" can be controlled using specified MIDI messages 

(Matrix Control, p. 44) 



Parameter 


Value 


Explanation 


A-Env Tl V-Sens 


-63- +63 


This allows keyboard dynamics to affect the Tl of the TVA envelope. 

If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you 
want it to be slowed down, set this to a negative (-) value. 


A-Env T4 V-Sens 


-63- +63 


Use this parameter when you want key release speed to affect the T4 value of the TVA envelope. 

If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you 
want it to be slowed down, set this to a negative (-) value. 


A-Env Time KF 
(Time Keyfollow) 


-100- +100 


Use this setting if you want the TVA envelope times (T2-T4) to be affected by the keyboard location. Based on 
the TVA envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have 
increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger set- 
tings will produce greater change. 


A-Env Time 1-4 • 


0-127 


TVA envelope times (T1-T4) 

Higher settings will lengthen the time until the next volume level is reached. 


A-Env Level 1-3 


0-127 


TVA envelope levels (L1-L3) 

Specify how the volume will change at each point, relative to the Tone Level value. 



Level 




Time 



Time Keyfollow 



Time 




C1 




32 


C3 


C4 


C5 


C6 


C7 




1 




!!l 


II 


III 




III 




III 




III 




III 




III 



Key 




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Creating a Patch 



Matrix Control Settings/Miscellaneous Settings 



MATRIX CTRL 1-4 

The function which allows you use MIDI messages to make changes in realtime to the tone parameters is called the Matrix Control. Up to four 
Matrix Controls can be used in a single patch. 

To use the Matrix Control, specify which MIDI message (CTRL Source parameter) mil be used to control which parameter (CTRL Destination 
parameter), and how greatly (CTRL Sens parameter), and the tone to which the effect is applied (CTRL Switch parameter). 



Parameter 


Value 


Explanation 


CTRL 1^ Source 


OFF, CCOl-31, 33-95, 


MIDI message used to change the tone parameter with the Matrix Control 




PITCH BEND, 


OFF: Matrix control will not be used. 




AFTERTOUCH, 


CC01-31 , 33-95: Controller numbers 1-31, 33-95 




SYS CTRLl^, 


PITCH BEND: Pitch Bend AFTERTOUCH: Aftertouch 




VELOCITY, 


SYS CTRL1— 4: MIDI messages used as common matrix controls 




KEY FOLLOW, TEMPO, 


VELOCITY: Pressure you press a key with KEY FOLLOW: Keyboard position with C4 as 




LFOl, LF02, PITCH 


TEMPO: The specified tempo (song recorder tempo) or the tempo of an external MIDI sequencer. 




ENV, TVF ENV, TVA 


LF01 : LEO 1 LF02: LEO 2 




ENV 


PITCH ENV: Pitch envelope TVF ENV: TVF envelope TVA ENV: TVA envelope 



(MEMO) 

Velocity and Key follow correspond to Note messages. 



Although there are no MIDI messages for LFO 1 through TVA Envelope, they can be used as Matrix Control. In this case, you can change the 
tone settings in realtime by playing patches. 

If you want to use common controllers for the entire JUNO-G, select "SYS CTRL1"-"SYS CTRL4." MIDI messages used as System Control 1- 
4 are set with the System Ctrl 1-4 Source parameters (p. 160). 

csm 

There are parameters that determine whether or not Pitch Bend, Controller Number 11 (Expression) and Controller Number 64 (Hold 1) are 
received (p. 45). When these settings are "ON," and the MIDI messages are received, then when any change is made in the settings of the 
desired parameter, the Pitch Bend, Expression, and Hold 1 settings also change simultaneously. If you want to change the targeted 
parameters only, then set these to "OFE." 

There are parameters that let you specify whether specific MIDI messages will be received for each channel in a performance (p. 67). When a 
patch with Matrix Control settings is assigned to a part, confirm that any MIDI messages used for the Matrix Control will be received. If the 
JUNO-G is set up such that reception of MIDI messages is disabled, then the Matrix Control will not function. 



Parameter 

CTRL 1^ 
Destination 1- 

4 



Value 

OFF, PITCH, CUTOFF, RES- 
ONANCE, LEVEL, PAN, 
OUTPUT LEVEL, CHORUS 
SEND, 

REVERB SEND, 
LFOl/2 PITCH DEPTH, 
LFOl/2 TVF DEPTH, 
LFOl/2 TVA DEPTH, 
LFOl/2 PAN DEPTH, 
LFOl/2 RATE, 
PCH ENV A-TIME, 
PCH ENV D-TIME, 
PCH ENV R-TIME, 
TVF ENV A-TIME, 
TVF ENV D-TIME, 
TVF ENV R-TIME, 
TVA ENV A-TIME, 
TVA ENV D-TIME, 
TVA ENV R-TIME, TMT, 
FXM DEPTH, MEX CTRLl- 
4, TIME 



Explanation 

Tone parameter that is to be controlled when using the Matrix Control 

Up to four parameters can be specified for each Matrix ControL and controlled simultaneously. 
* In this manual, Parameters that can he controlled using the Matrix Control are marked with a "*. " 



Parameter 



Value 



Explanation 



CTRL 1-4 Sens 1-4 



-63- +63 



Amount of the Matrix Control's effect that is applied 

If you wish to modify the selected parameter in a positive (+) direction — i.e., a higher value, toward the right, or 
faster etc. — from its current setting, select a positive (+) value. If you wish to modify the selected parameter in a neg- 
ative (-) direction — i.e., a lower value, toward the left, or slower etc. — from its current setting, select a negative (-) 
value. For either positive or negative settings, greater absolute values will allow greater amounts of change. Set this 
to "0" if you don't want to apply the effect. 



CTRL 1^ Switch 1^ 



OFF, ON, 
REVS 



Tone to which the effect is applied when using the Matrix Control 
OFF: The effect will not be applied. 
ON: The effect will be applied. 
REVS: The effect will be applied in reverse. 




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Creating a Patch 



MISC 



Tone Delay 

This produces a time delay between the moment a key is pressed (or released), and the moment the tone actually begins to sound. You can also 
make settings that shift the timing at which each tone is sounded. This differs from the Delay in the internal effects, in that by changing the sound 
qualities of the delayed tones and changing the pitch for each tone, you can also perform arpeggio-like passages just by pressing one key. 
You can also synchronize the tone delay time to the tempo of the song recorder. 

* If you are not going to use Tone Delay, set the Delay Mode parameter to "NORM" and Delay Time parameter to "0. " 

• If the Structure parameters set in the range of "2"-"10," the output of tones 1 and 2 will be combined into tone 2, and the output of tones 3 
and 4 will be combined into tone 4. For this reason, tone 1 •will follow the settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 35). 



Parameter 



Value 



Explanation 



Tone Delay Mode 



NORM, Type of tone delay 

HOLD, NORM: The tone begins to play after the time specified in the Delay Time parameter has elapsed. 

OFFN, HOLD: Although the tone begins to play after the time specified in the Delay Time parameter has elapsed, if the key is re- 

OFFD leased before the time specified in the Delay Time parameter has elapsed, the tone is not played. 

OFFN: Rather than being played while the key is pressed, the tone begins to play once the period of time specified in the 
Delay Time parameter has elapsed after release of the key. This is effective in situations such as when simulating noises 
from guitars and other instruments. 

OFFD: Rather than being played white the key is pressed, the tone begins to play once the period of time specified in the 
Delay Time parameter has elapsed after release of the key. Ftere, however, changes in the TVA Envelope begin while the 
key is pressed, which in many cases means that only the sound from the release portion of the envelope is heard. 
* If you have selected a waveform that is a decay-type sound (i.e., a sound that fades away naturally even if the key is not released), select- 
ing "OFFN" or "OFFD" may result in no sound being heard. 



Tone Delay Time 



0-127, Time from when the key is pressed {or if the Delay Mode parameter is set to "OFFN" or "OFFD," the time from when the key 

Note is released) until when the tone will sound 

Tone Delay Time specifies the beat length for the synchronized tempo when the tempo that specifies the elapsed time until 
the tone is sounded {Patch Tempo) is synchronized with the tempo set in a song recorder. 



Tone Delay Mode: NORM Tone Delay Mode: HOLD 
No Tone Delay 



Tone Delay Mode: OFFN 




Delay time 



A 



Note on Note off 



A 




' „ No sound 
,' \ played 



Tone Delay Mode: OFFD 

Delay time 



Delay time 




11\ 



Note on Note off 



z^ 
Note on 



Note off 



Parameter 



Value 



Explanation 



Tone Env Mode 

Rx Bender 
Rx Expression 



NSUS, When a loop waveform (p. 33) is selected, the sound will normally continue as long as the key is pressed. If you want the 

SUST sound to decay naturally even if the key remains pressed, set this to "NSUS." 

* If a one-shot type wave (p. 33) is selected, it will not sustain even if this parameter is set to "SUST." 
OFF, ON For each tone, specify whether MIDI Pitch Bend messages will be received (ON), or not (OFF). 

OFF, ON For each tone, specify whether MIDI Expression messages will be received (ON), or not (OFF). 



Rx Hold-1 



OFF, ON 



For each tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF). 

* If "NSUS" is selected for Env Mode parameter, this setting will have no effect. 



Rx Pan Mode 



Redamper Sw 



CONT, K- 
ON 



OFF, ON 



For each tone, specify how pan messages will be received. 

CONT: Whenever Pan messages are received, the stereo position of the tone will be changed. 

K-ON: The pan of the tone will be changed only when the next note is played. If a pan message is received while a note 

is sounding, the panning will not change until the next key is pressed. 
* The channels cannot he set so as not to receive Pan messages. 

You can specify, on an individual tone basis, whether or not the sound will be held when a Hold 1 message is received after 
a key is released, but before the sound has decayed to silence. 

If you want to sustain the sound, set this "ON." When using this function, also set the Rx Hold-1 parameter "ON." This 

function is effective for piano sounds. 




45 




JUNO-G_e.book 46'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



(^ 



Creating a Patch 



Modulating Sounds/Output 



An LFO (Low Frequency Oscillator) causes change over a cycle in a sound. Each tone has two LFOs (LF01/LF02), and these can be used to 
cyclically change the pitch, cutoff frequency and volume to create modulation-type effects such as vibrato, wah and tremolo. Both LFOs have the 
same parameters so only one explanation is needed. 



LFO 1-2 



Parameter marked with a "*" can be controlled using specified MIDI messages 

(Matrix Control, p. 44) 



Parameter 


Value 


Explanation 


Wave Form 


SIN, 


Waveform of the LFO 




TRI, 


SIN: Sine wave 




SAWU, 


TRI: Triangle wave 




SAWD, 


SAWU: Sawtooth wave 




SQR, 


SAWD: Sawtooth wave (negative polarity) 




RND, BD- 


SQR: Square wave 




U, BD-D, 


RND: Random wave 




TRP,S&H, 


BD-U: Once the attack of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then con- 




CHS, 


tinues without further change. 




VSIN, 


BD-D: Once the decay of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then con- 




STEP 


tinues without further change. 
TRP: Trapezoidal wave 

S&H: Sample & Hold wave (one time per cycle, LFO value is changed) 
CHS: Chaos wave 

VSIN: Modified sine wave. The amplitude of a sine wave is randomly varied once each cycle. 

STEP: A waveform generated by the data specified by LFO Step 1-16. This produces stepped change with a fixed pattern sim- 
ilar to a step modulator. 
* If you set this to "BD-U" or "BD-D," you must turn the Key Trigger parameter to "ON." If this is "OFF," it will have no effect. 


Rate* 


0-127, 


Modulation speed of the LFO 




Note 


LFO Rate sets the beat length for the synchronized tempo is synchronized with the tempo set in a sequencer. 

* This setting will be ignored if the Waveform parameter is set to "CHAOS. " 


Rate Detune 


0-127 


Makes subtle changes in the LFO cycle rate (Rate parameter) each time a key is pressed. 

Higher settings will cause greater change. This parameter is invalid when Rate is set to "note." 


Offset 


-100- +100 


Raises or lowers the LFO waveform relative to the central value (pitch or cutoff frequency). 

Positive (+) settings will move the waveform so that modulation will occur from the central value upward. Negative (-) set- 
tings will move the waveform so that modulation will occur from the central value downward. 


Delay Time 


0-127 


Time elapsed before the LFO effect is applied (the effect continues) after the key is pressed (or released) 

When using violin, wind, or certain other instrument sounds in a performance, rather than having vibrato added immediately 
after the sounds are played, it can be effective to add the vibrato after the note is drawn out somewhat. 


Delay Time KF 


-100- +100 


Adjusts the value for the Delay Time parameter depending on the key position, relative to the C4 key (center C). 


(Time Keyfol- 




To decrease the time with each higher key that is pressed in the upper registers, select a positive value; to increase the elapsed 


low) 




time, select a negative value. Larger settings will produce greater change. If you do not want the elapsed time to change ac- 
cording to the key pressed, set this to "0." 



Time 



Time Keyfollow 




C2 C3 C4 C5 



Parameter 

Fade Mode 

Fade Time 
Key Trigger 




46 



+100 
tl " Key 



Parameter marked with a "*" can be controlled using specified MIDI messages 

(Matrix Control, p. 44) 



Value 

ON <, ON >, 
OFF <, OFF > 

0-127 

OFF, ON 



Explanation 

How the LFO will be applied 

Time over which the LFO amplitude will reach the maximum (mmimum) 

Specifies whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF). 



Pitch Depth • 


-63- +63 


How deeply the LFO will affect pitch 


TVF Depth • 


-63- +63 


How deeply the LFO will affect the cutoff frequency 


TVA Depth • 


-63- +63 


How deeply the LFO will affect the volume 






JUNO-G_e.book 47 ^-v 2006^2^1 30 ^^B ^tg2B=^4 4-^ 



Creating a Patch 



Parameter 



Value 



Explanation 



Pan Depth • 



-63- +63 



How deeply the LFO will affect the pan 



Positive {+) and negative (-) settings for the Depth parameter result in differing kinds of change in pitch and volume. For example, if you set 
the Depth parameter to a positive {+) value for one tone, and set another tone to the same numerical value, but make it negative {-), the modu- 
lation phase for the two tones will be the reverse of each other. This allows you to shift back and forth between two different tones, or combine 
it with the Pan setting to cyclically change the location of the sound image. 

* When the Structure parameter is set to any value from "2" through "10," the output of tones 1 and 2 will be combined into tone 2, and the output of tones 
3 and 4 will be combined into tone 4. This applies to the Pan Depth parameter settings. For this reason, tone 1 will follow the settings of tone 2, and tone 
3 will follow the settings of tone 4 (p. 35). 



How to Apply the LFO 

• Apply the LFO gradually after the key is pressed 



high (more) 

Pitch 

Cutoff Frequency 

Level 

Pan 

low (less) 1 



Delay 

Time Fade Time 




Depth 



Fade Mode: ON < 

Delay Time: Time from when the keyboard is played until the LFO begins to be applied 
Fade Time: Time over which the LFO amplitude will reach the maximum after the Delay 
Time has elapsed 



• Apply the LFO immediately >vhen the key is pressed, and then gradually begin to decrease the effect 



high (more) 

Pitch 

Cutoff Frequency 

Level 

Pan 




low (less) 1 ' 

• Apply the LFO gradually after the key is released 



Fade IVIode: ON > 

Delay Time: Time that the LFO will continue after the keyboard is played 

Fade Time: Time over which the LFO amplitude will reach the minimum after the Delay 

Time has elapsed 



high (more) 




Delay 
Time 


Fade Time 




Pitch 

Cutoff Frequency 

Level 






^A, 


I 


Pan 


▲ 
Note 
on 


Note 
off 


<iM\i 


low (less) 







Depth 



Fade Mode: OFF < 

Delay Time: Time from when the keyboard is released until the LFO begins to be applied 
Fade Time: Time over which the LFO amplitude will reach the maximum after the Delay 
Time has elapsed 



• Apply the LFO from >vhen the key is pressed until it is released, and gradually begin to decrease the 
effect >vhen the key is released 



high (more) ■ 




Delay 
Time 


Fade Time 












Pitch 
Cutoff Frequency 


A A 1\ Ai7v>. 


Depth 


Pan 


^l 


\t\l\ 


[y^ 




low (less) ' 


■ Note on 


Note off 





Fade Mode: OFF > 

Delay Time: Time that the LFO will continue after the keyboard is released 

Fade Time: Time over which the LFO amplitude will reach the minimum after the Delay 

Time has elapsed 



STEP 



Parameter 

Step Type 



Step 1-16 



Value 

TYPl, TYP2 



-36- +36 



Explanation 

When generating an LFO waveform from the data specified in LFO Step 1-16, specify whether the level will change abruptly 
at each step or will be connected linearly. 

TYP1 : stair-step change 

TYP2: linear change 

Specifies the data for the Step LFO. 

If the LFO Pitch Depth is +63, each +1 unit of the step data corresponds to a pitch of +50 cents. 




47 




JUNO-G_e.book 48'^-y 200 6^2^130 ^ms ^ft2B#4 4-H- 



Creating a Patch 



OUTPUT 



Parameter 


Value 


Explanation 


Patch Out Assign 


MFX, 
A, B, 1- 
4, 
TONE 


Specifies how the direct sound of each patch will be output. 

MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-ef- 
fects. 

A, B: Output to the OUTPUT A (MIX) jacks or OUTPUT B jacks in stereo without passing through multi-effects. 
1-4: Output to the INDIVIDUAL 1-4 jacks in mono without passing through multi-effects. 
TONE: Outputs according to the settings for each tone. 

* If you've made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually 
inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the IN- 
DIVIDUAL 1 jack. 

* If the Mix/Parallel parameter is set to "MIX," all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). 


Tone Out Assign 


MFX, 
A, B, 1- 
4 


Specifies how the direct sound of each tone will be output. 

MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-ef- 
fects. 

A, B: Output to the OUTPUT A (MIX) jacks or OUTPUT B jacks in stereo without passing through multi-effects. 
1-4: Output to the INDIVIDUAL 1^ jacks in mono without passing through multi-effects. 

* If the Patch Out Assign is set to anything other than "TONE," these settings will be ignored. 

* When the Structure Type parameter has a setting of Type "2"-"10," the outputs of tones 1 and 2 will be combined with tone 2, and the 
outputs of tones 3 and 4 will be combined with tone 4. Tor this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the 
settings of tone 4 (p. 35). 

* If you've made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually 
inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the IN- 
DIVIDUAL 1 jack. 

* If the Mix/Parallel parameter is set to "MIX," all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). 

* If you've set Tone Out Assign to "MTX," set the MFX Output Assign parameter (p. 127) to specify the output destination of the sound 
that has passed through the multi-effects. 

* Sounds are output to chorus and reverb in mono at all times. 

* The output destination of the signal after passing through the chorus is set with the Chorus Output Select and Chorus Output Assign pa- 
rameters (p. 127). 

* The output destination of the signal after passing through the reverb is set with the Reverb Output Assign parameter (p. 127). 


Tone Out Level 


0-127 


Level of the signal that is sent to the output destination specified by Tone Output Assign 


Send Level (Output = MFX) 


Tone Chorus Send 


0-127 


Level of the signal sent to chorus for each tone if the tone is sent through MFX 


Tone Reverb Send 


0-127 


Level of the signal sent to reverb for each tone if the tone is sent through MFX 


Send Level (Output = non MFX) 


Tone Chorus Send 


0-127 


Level of the signal sent to chorus for each tone if the tone is not sent through MFX 


Tone Reverb Send 


0-127 


Level of the signal sent to reverb for each tone if the tone is not sent through MFX 



Setting Effects for a Patch (Effects/MFX/MFX Control/Ghorus/Reverb) 



For details regarding effect settings, refer to the pages shown below. 

Making Effect Settings (p. 125) 

iVIaking Multi-Effects Settings (MFX1-3) (p. 129) 

Making Chorus Settings (p. 154) 

Making Reverb Settings (p. 155) 




48 




JUNO-G_e.book 49 '^-y 200 6^2^130 ^ms ^ft2B#4 4-H- 




Creating a Rhythm Set 



With the JUNO-G, you have total control over a wide variety of 
settings. Each item that can be set is known as a parameter. When 
you change the values of parameters, you are doing what is referred 
to as Editing. This chapter explains the procedures used in creating 
rhythm sets, and the functions of the rhythm set parameters. 



How to Make Rhythm Set 
Settings 



Using the Knobs to Edit the Sound 

You can use the six SOUND MODIFY knobs to edit the sound in real 
time. 



(MEMO) 

In the case of a sound that has only a brief duration, it may be 
difficult to hear the effect of turning a knob. 

1 . Press IWODE [PATCH] to access the PATCH PLAY screen. 

2. Select the rhythm set whose settings you want to edit (p. 26). 

You cannot edit the patches in the GM2 group. 

3. Press keys to specify the key (A0-C8) that is to be 
controlled by the SOUND MODIFY knobs. 

Selecting the tone to edit 

4. In the PATCH PLAY screen, press [TONE SW/SEL] so the 
button Is lit. 

5. Press SELECT[1]-[4] to select the tone(s) you want to edit. 

In the SOUND MODIFY 1^ area at the bottom of the screen, a 
check mark (^) will be added to the tone number(s) you select. 

* You can press multiple buttons simultaneously to select multiple 
tones. 

* By turning TONE SWITCH on/off you can edit the sound while 
hearing only the desired tone. 

Changing the brightness of the sound and 
adding special qualities (CUTOFF/RESONANCE) 

The sound generator section of the JUNO-G contains a filter that can 
cut or boost specific frequency regions of the sound. The CUTOFF 
knob specifies the frequency (cutoff frequency) at which the filter 
will begin to modify the sound, and the RESONANCE knob boosts 
the region near the cutoff frequency to add a distinctive character to 
the sound. 

6. Turn the CUTOFF or RESONANCE knobs. 

Turning a knob toward the right increases the value. 

FREQ: Frequency at which the filter begins to have an effect on 

the waveform's frequency components 

RESO: Emphasizes the portion of the sound in the region of the 

cutoff frequency, adding character to the sound 

* Excessively high settings can produce oscillation, causing the sound to 
distort. 



Editing the vs^ay that the volume vs^ill change 

The volume continues to change from the time a key is pressed to 
when it is released. 

7. Press the SOUND MODIFY select button to make AMP ENV 
light. 

8. Turn the ATTACK, DECAY, SUSTAIN, and RELEASE knobs. 

Turning a knob toward the right increases the value. 

A: Attack Time: The time from when the keyboard is pressed 

until the maximum tonal change is reached. 

D: Delay Time: The time from when the maximum tonal change 

is reached until the Sustain Level is reached. 

S: Sustain level: Volume that is sustained while you hold down 

the key 

R: Release Time: The time from when the keyboard is released 

until the sound disappears. 

* If you press the SOUND MODIFY select button so all of the 
indicators are off, turning these knobs will not produce any change. 

Editing the way that tone (brightness) will change 

The tone undergoes changes between the moment you press a key 
until you release it. 

9. Press the SOUND MODIFY select button to make FILTER 
ENV light. 

1 0. Turn the ATTACK, DECAY, SUSTAIN, and RELEASE knobs. 

Turning a knob toward the right increases the value. 

* If you press the SOUND MODIFY select button so all of the 
indicators are off, turning these knobs will not produce any change. 

Editing in a Graphic Display 
(Zoom Edit) 

The important parameters most commonly used to edit the sound 
are available in five screens for graphic editing. 



Parameter 


page 


PITCH ENVELOPE ZOOM 


p. 54 


TVF PARAMETER ZOOM 


p. 55 


TVF ENVELOPE ZOOM 


p. 55 


TVA ENVELOPE ZOOM 


p. 56 



1 . Press MODE [PATCH] to access the PATCH PLAY screen. 

2. Select the rhythm set whose settings you want to edit (p. 26). 

dsm 

You cannot edit the patches in the GM2 group. 

3. Press EDIT [PATCH] so It's lit. 

4. Press keys to specify the key (A0-C8) that Is to be edited. 

5. Use [F1]-[F4] to select the parameter screen. 

6. Use [^ [w] [4] [^] to select a parameter. 

* Some parameters can be edited independently for each tone. To select 
the tone to edit, press [TONE SW/SEL] so it's lit, and press one of the 
SELECT [l]-[4] buttons. 




49 




JUNO-G_e.book SO'^-y 2006^2^130 ^WH ^ft2a#44-H- 



Creating a Rhythm Set 



7. Use the VALUE dial or [INC] [DEC] to change the value. 

Parameters with an indication of 1-4 can also be edited using 
the corresponding SOUND MODIFY knob 1-4. 

8. Repeat steps 4-6 to set each parameter. 

9. Press [WRITE] to save the changes you've made (p. 51). 

If you do not wish to save changes, press [EXIT] to return to 
the PATCH PLAY screen. 

If you return to the PATCH PLAY screen without saving, an "*" 
will be displayed at the left of the rhythm set group. 

csm 

If you turn off the power or select a different sound while the 
display indicates "*," your edited rhythm set will be lost. 



Vie^ving and editing all 
parameters (PRO EDIT) 



1. 

2. 



[3I> 

For details on the parameters, refer to p. 52 and follows. 

Press MODE [PATCH] to access the PATCH PLAY screen. 
Select the rhythm set whose settings you want to edit (p. 26). 

csm 

You cannot edit the patches in the GM2 group. 

3. Press EDIT [PATCH] so it's lit. 

4. Press [F6 (PRO EDIT)]. 

5. Press keys to specify the key (A0-C8) that is to be edited. 

6. Use [F2 (GRP t)][F3 (GRP i)] to switch the parameter 
group. 

* Pressing [Fl (GRP LIST)] will display the Patch Pro Edit Menu 
window. Use the VALUE dial or [INC] [DEC] [A.] [-W] to select a 
parameter group, and press [ENTER]. 

7. Use [.▲] [-w] to select a parameter. 

* A check mark ftO will be added to the tone number in the upper right 
of the screen. 

8. Use the VALUE dial or [INC] [DEC] to change the value. 

Parameters with an indication of 1-4 can also be edited using 
the corresponding SOUND MODIFY knob 1-4. 

9. Repeat steps 5-7 to set each parameter. 

1 0. Press [WRITE] to save the changes you've made (p. 51). 

If you do not wish to save changes, press [EXIT] to return to 
the PATCH PLAY screen. 

If you return to the PATCH PLAY screen without saving, an "*" 
will be displayed at the left of the rhythm set group. 

If you turn off the power or select a different sound while the 
display indicates "*," your edited rhythm set will be lost. 



Using the SOUND MODIFY Knobs 
to Change the Value 

If a number is displayed for the parameter name (1, 2, 3, 4), you can 
use the SOUND MODIFY knobs 1-4 to set the value. 

* Press the SOUND MODIFY select button so all of the indicators are 
off. If any indicator is lit, the knob functions will change. 
For example, in the TVF ENVELOPE ZOOM screen, the knobs 
correspond to parameters as follows. 



Knobl 


A (Time 1) 


Knob 2 


D (Time 3) 


Knob 3 


S (Level 3) 


Knob 4 


R (Time 4) 



Initializing Rhythm Set Settings 

"Initialize" means to return the settings of the currently selected 
sound to a standard set of values. 

* The Initialize operation will affect only the currently selected sound; 
the sounds that are stored in user memory will not be affected. If you 
wish to restore all of the JUNO-G's settings to their factory values, 
perform a Factory Reset (p. 164). 

1 . With EDIT [PATCH] lit, hold down [SHIFT] and press [F5 (INIT)]. 

A message will ask you for confirmation. 

2. Press [F6 (EXEC)]. 

The initialization will be carried out. 

* To cancel, press [F5 (CANCEL)]. 

Copying Rhythm Tone Settings 

This operation copies the settings of any desired rhythm set to the 
currently selected rhythm set. 

1 . With EDIT [PATCH] lit, hold down [SHIFT] and press [F6 
(TONE COPY)]. 

The Rhythm Tone Copy window appears. 



\kiliMJAJM\MdMMin 




:stanciarciKit3: fi a 
QCutoff 65: 

BGesonance 3; 



Rhythm Tohe Copy 



Dsst ihat iohCTemporary Rhythm] 
StahdarcJK i t3 |a_e] 



2. Press [.▲] [^ [^] [^] to move the cursor, and use the 
VALUE dial or [INC] [DEC] to select the "Source (copy- 
source)" group and number, and the tone. 

* By pressing [F4 (COMPR)] to add a check mark ("•), you can check 
the copy-source patch (Compare function). 

3. Press [^ Iw] [^] [^] to move the cursor, and select the 
"Destination (copy-destination)" tone. 

4. Press [F6 (EXEC)]. 

A message mil ask you for confirmation. 




50 




JUNO-G_e.book 51 '^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Creating a Rhythm Set 



5. Press [F6 (EXEC)] to execute the copy operation. 

* To cancel, press [F5 (CANCEL)]. 



The Compare Function 

For the Rhythm Tone Copy and Rhythm Set Save operations, 

you can use the Compare function. 

If you want to play the copy-source or write-destination rhythm 

set, press [F4 (COMPR)] to add a check mark (•). Now you can 

play the copy-source or write-destination rhythm set from the 

keyboard. 

* The rhythm set auditioned using the Compare function may 
sound slightly different than when it is played normally. 



Saving Rhythm Sets YouVe 
Created (Write) 



Changes you make to sound settings are temporary, and will be lost 
if you turn off the powder or select another sound. If you want to keep 
the modified sound, you must save it in the internal USER group 
(user memory) or CARD group (memory card). 
When you edit the patch settings, an "*" will appear in the PATCH 
PLAY screen. 



When you perform the save procedure, the data that previously 
occupied the save destination wrill be lost. 

1 . Edit the rhythm set. 

2. Press EDIT [WRITE]. 

The WRITE MENU screen appears. 

3. Press [F2 (PAT/RHY)]. 

* Alternatively, you can use l^.] I'W] to select "Patch/Rhythm," and 
then press [ENTER]. 
The RHYTHM SET NAME screen appears. 



USERMTr ^"^^^^ 

StandardKita 
T 
U 

v.. 



4. Assign a name to the rhythm set. 



:3Z> 



For details on assigning names, refer to p. 24. 

5. When you have finished inputting the name, press [F6 
(WRITE)]. 

A screen will appear, allowing you to select the wrrite- 
destination patch. 

6. Use the VALUE dial, [INC] [DEC], or [a] [-w] and [F1 (USER)] 
[F2 (CARD)] to select the write destination and patch number. 

* By pressing [F4 (COMPR)] to add a check mark (•), you can check 
the write-destination patch (Compare function). 



7. Press [F6 (WRITE)]. 

A message will ask you for confirmation. 

8. Press [F6 (EXEC)] to execute the save operation. 

* To cancel, press ]F5 (CANCEL)]. 

csm 

Never switch off the JUNO-G while data is being saved. 

One-shot Waveform and Loop Waveform 

The internal waveforms of the JUNO-G fall into the following two 

groups. 

One-shot: 

These waveforms contain sounds that have short decays. A one-shot 

waveform records the initial rise and fall of the sound. 

The JUNO-G also contains many other one-shot waveforms that are 

elements of other sounds. These include attack components such as 

piano-hammer sounds and guitar fret noises. 

* It is not possible to use the envelope to modify a one-shot waveform to 
create a decay that is longer than the original waveform, or to turn it 
into a sustaining sound. 

Loop: 

These waveforms include sounds with long decays as well as 

sustained sounds. Loop waveforms repeatedly play back (loop) the 

portion of the waveform after the sound has reached a relatively 

steady state. 

The JUNO-G's looped waveforms also include components of other 

sounds, such as piano-string resonant vibrations and the hollow 

sounds of brass instruments. 

The following diagram shows an example of sound (electric organ) 
that combines one-shot and looped waveforms. 



TVA ENV for looped Organ 
waveform (sustain portion) 

. Levei 



TVA ENV for one-shot Key 
-ciicl< waveform (attack portion) 



Resuiting TVA ENV 
cfiange 




~i ^^" 




51 




JUNO-G_e.book Sa'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Creating a Rhythm Set 



Tips for Using an Acoustic Instrument's Waveform 

With many acoustic instruments such as piano and sax, extreme timbral changes occur during the first few moments of each note. This initial 
attack is what defines much of the instrument's character. For such waveforms, it is best to use the complex tonal changes of the attack portion of 
the waveform just as they are, and to use the envelope only to modify the decay portion. 



Level 

Tone change stored 
with the wave 



Envelope 
for the TVF filter 



Resulting 
tone change 



Looped portion 




Functions of Rhythm Set Parameters 



Settings Common to the Entire Rhythm Set 



GENERAL 



Parameter 


Value 


Description 


lyiythm Level 


0-127 


Volume of the rhythm set 


lyiythm Tone 
Name 




You can assign a name of up to 12 characters to the rhythm tone. 

Press [^] [^] to move the cursor, and use the VALUE dial or [INC] [DEC] to select characters. 



CONTROL 



Parameter 


Value 


Explanation 


Assign Type 


MULTI, SIN- 
GLE 


Sets the way sounds are played wfhen the same key is pressed a number of times. 

MULTI: Layer the sound of the same keys. Even with continuous sounds where the sound plays for an extended time, 
such as with crash cymbals, the sounds are layered, without previously played sounds being eliminated. 
SINGLE: Only one sound can be played at a time when the same key is pressed. With continuous sounds where the 
sound plays for an extended time, the previous sound is stopped when the following sound is played. 


Mute Group 


OFF, 1-31 


On an actual acoustic drum set, an open hi-hat and a closed hi-hat sound can never occur simultaneously. To reproduce 

the reality of this situation, you can set up a Mute Group. 

The Mute Group function allows you to designate two or more rhythm tones that are not allowed to sound simulta- 
neously. Up to 31 Mute Groups can be used, rhythm tones that are not belong to any such group should be set to 
"OFF." 


Tone Env Mode 


NO-SUS, SUS- 
TAIN 


When a loop waveform {p. 51) is selected, the sound will normally continue as long as the key is pressed. If you want the 

sound to decay naturally even if the key remains pressed, set this to "NO-SUS." 

* If a one-shot type wave (p. 51) is selected, it will not sustain even if this parameter is set to "SUSTAIN." 


Tone Pitch Bend 
Range 


0-48 


Amount of pitch change in semitones (4 octaves) that will occur when the Pitch Bend Lever is moved 
The amount of change when the lever is tilted is set to the same value for both left and right sides. 


One Shot Mode 


OFF, ON 


ON: The sound will play back until the end of the waveform (or the end of the envelope, whichever comes first). 
If you have set Wave Group (p. 53) to SAMP, the loop setting will be forced to ONE SHOT. 


Aftertouch Time 
Ctrl Sens 


-63- +63 


If Wave Group is set to SAMP and Wave Tempo Sync is ON, aftertouch will control the amount of time stretching/shrink- 
ing caused by Time Stretch. 

If Time Stretch is not being applied, nothing will happen. If set to "+" the stretch/shrink time will become shorter, and 

if set to "-" the time will become longer. 



RECEIVE 






Parameter 


Value 


Explanation 


Tone Receive 
Expression 


OFF, ON 


For each rhythm tone, specify whether MIDI Expression messages will be received (ON), or not (OFF). 


Tone Receive 
Hold-1 


OFF, ON 


For each rhythm tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF). 
* If "NO-SUS" is selected for Env Mode parameter, this setting irnll have no effect. 




52 




JUNO-G_e.book SS'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



(^ 



Creating a Rhythm Set 



Parameter 



Value 



Explanation 



Tone Receive 
Pan Mode 



CONTINUOUS, 
KEY-ON 



For each rhythm tone, specify how pan messages will be received. 

CONTINUOUS: Whenever Pan messages are received, the stereo position of the tone will be changed. 

KEY-ON: The pan of the tone will be changed only when the next note is played. If a pan message is received while a 

note is sounding, the panning will not change until the next key is pressed. 
* The channels cannot be set so as not to receive Pan messages. 



Modifying Waveforms/Pitch/Pitch Envelope 



WAVE PAI^METER 



Parameter 


Value 


Explanation 


Wave Group 


INT, EXP, 
SAMP 


Group containing the waveforms comprising the rhythm tone 
INT: Waveforms stored in internal 

EXP: Waveform stored in a Wave Expansion Board (SRX series) installed in EXP slots 
SAIVIP: Sample waveforms 


Wave Bank 


PRST, USER, 
CARD 


When the Wave Group is SAMP: PRST, USER, CARD 
When the Wave Group is MSAM: USER, CARD 


Wave No. L (Mono) 
Wave No. R 


— -, 1-1267 


Waves comprising the rhythm tone (The upper limit will depend on the wave group.) 

When in monaural mode, only the left side (L) is specified. When in stereo, the right side (R) is also specified. 

If you want to select a left/right pair of Waves, select the left (L) Wave number, and then hold down [SHIFT] and 

press [F4 (STEREO)] to add a check mark (•); the right (R) (Wave) will be recalled. 


Wave Gain 


-6, 0, +6, +12 


Gain (amplification) of the waveform 

The value changes in 6 dB (decibel) steps — an increase of 6 dB doubles the waveform's gain. 


Wave Tempo Sync 


OFF, ON 


When you wish to synchronize a Phrase Loop to the clock (tempo), set this to "ON." 

• This is valid only when a separately sold wave expansion board is installed, and a waveform that indicates a tempo (BPM) is 
selected as the sample for a tone. 

If a waveform from a wave expansion board is selected for the tone, turning the Wave Tempo Sync parameter "ON" 
will cause pitch-related settings and FXM-related settings to be ignored. 

• If a sample is selected for a tone, you must first set the BPM (tempo) parameter of the sample. 

• If a sample is selected for a tone. Wave Tempo Sync will require twice the normal number of voices. 



Phrase Loop 

Phrase loop refers to tlie repeated playback of a phrase that's 
been pulled out of a song (e.g., by using a sampler). One 
technique involving the use of Phrase Loops is the excerpting of 
a Phrase from a pre-existing song in a certain genre, for example 
dance music, and then creating a newf song with that Phrase 
used as the basic motif. This is referred to as "Break Beats." 



Realtime Time Stretch 

If the wave group is "SAIVIP" or "IVISAIVI," and the Wave 
Tempo Sync parameter is turned "ON," you can vary the 
playback speed of the waveform without affecting the pitch. 



Parameter 


Value 


Explanation 


FXM Switch 


OFF, ON 


This sets whether FXM will be used (ON) or not (OFF). 


FXM Color 


1-4 


How FXM will perform frequency modulation 

Higher settings result in a grainier sound, while lower settings result in a more metallic sound. 


FXM Depth 


0-16 


Depth of the modulation produced by FXM 



FXM 

FXM (Frequency Cross Modulation) uses a specified wraveform 
to apply frequency modulation to the currently selected 
waveform, creating complex overtones. This is useful for 
creating dramatic sounds or sound effects. 



WAVE PITCH 



Parameter 



Value 



Explanation 



Tone Coarse Tune 



{C -)- 

127 {G9) 



Pitch at which a rhythm tone sounds 

Set the coarse tuning for Waves comprising the rhythm tones with the Wave Coarse Tune parameter {p. 54). 



Tone Fine Tune 



-50- +50 



Pitch of the rhythm tone's sound {in 1-cent steps; one cent is 1 /100th of a semitone) 

Set the fine tuning for Waves comprising the rhythm tones with the Wave Fine Tune parameter (p. 54). 



Tone Random Pitch 

Depth 



0-1200 



Width of random pitch deviation that will occur each time a key is pressed (in 1-cent steps) 
If you do not want the pitch to change randomly, set this to "0." 




53 




JUNO-G_e.book 54'^-y 2006^2^130 ^ms ^ft2B#44-H- 



Creating a Rhythm Set 



WAVE PITCH ENV 



Parameter 



Value 



Explanation 



P-Env Depth 



P-Env V-Sens 



-12- +12 



-63- +63 



Depth of the Pitch Envelope 

Higher settings will cause the pitch envelope to produce greater change. Negative (-) settings will invert the shape of the 
envelope. 

Keyboard playing dynamics can be used to control the depth of the pitch envelope. 

If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a positive (+) value. 



P-Env Tl V-Sens 



-63- +63 



This allows keyboard dynamics to affect the Tl of the Pitch envelope. 

If you want Tl to be speeded up for strongly played notes, set this parameter to a positive (+) value. 



P-Env T4 V-Sens 
P-Env Time 1-4 



-63- +63 Use this parameter when you want key release speed to affect the T4 value of the Pitch envelope. 

If you want T4 to be speeded up for quickly released notes, set this parameter to a positive {+) value. 

0-127 Pitch envelope times (T1-T4) 

Higher settings will result in a longer time until the next pitch is reached. 



P-Env Level 0^ 



-63- +63 



Pitch envelope levels (L0-L4) 

Specify how the pitch will change at each point, relative to the pitch set with Coarse Tune or Fine Tune. 



Pitch Envelope 

11 12 



Pitch 



13 



14 




Time 



WAVE MIX Parameters 



WAVE MIX LV/PN 



Parameter 


Value 


Description 


Wave Level 


0-127 


Volume of the waveform 


Wave Pan 


L64-0-63R 


Left/right position of the waveform 



Wave Rnd Pan Sw OFF, ON Use this setting to cause the waveforn\'s panning to change randomly each time a key is pressed (ON) or not (OFF). 

* The range of the panning change is set by the Random Pan Depth parameter (p. 56). 
Wave Alter Pan Sw OFF, ON, REVS This setting causes panning of the waveform to be alternated between left and right each time a key is pressed. 

Set this to "ON" to pan the wave according to the Alternate Pan Depth parameter (p. 56) settings, or to "REVS" 

when you want the panning reversed. 



WAVE MIX TUNE 



Parameter 

Wave Coarse Tune 



Value 

-48- +48 



Explanation 

Pitch of the waveform's sound (in semitones, +/-4 octaves) 



Wave Fine Tune 



-50- +50 



Pitch of the waveform's sound (in 1-cent steps; one cent is 1/lOOth of a semitone) 



VELOCITY RANGE 

You can use the force with which keys are played to control the way each waveform is played. 



The waveform sounded 
when you play softly 



The waveform sounded 
when you play strongly 



Velocity 



Velo Fade Lower 

Velo Range Lower 



Velo Fade Upper 
Velo Range Upper 



Parameter 



Velocity Control 



Velo Fade Lower 



Value 



Explanation 



OFF, ON, RAN 



0-127 



Determines whether a different waveform is played (ON) or not (OFF) depending on the force with which the key 
is played (velocity). 

RAN: The rhythm tone's constituent waveforms will sound randomly, regardless of any Velocity messages. 
Determines what will happen to the waveform's level when the rhythm tone is played at a velocity lower than Velo 
Range Lower. 

If you don't want the waveform to sound at all, set this parameter to "0." 



Velo Range Lower 1-UPPER Specifies the lowest velocity at which the waveform will sound. 

Velo Range Upper LOWER-127 Specifies the highest velocity at which the waveform will sound. 




54 




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Creating a Rhythm Set 



Parameter 



Value 



Explanation 



Velo Fade Upper 



0-127 



Determines what will happen to the waveform's level when the rhythm tone is played at a velocity greater than Velo 
Range Upper. 

If you don't want the waveform to sound at all, set this parameter to "0." 



Modifying the Brightness of a Sound v^ith a Filter (TVF/TVF Envelope) 

A filter cuts or boosts a specific frequency region to change a sound's brightness, thickness, or other qualities. 



TVF PARAMETER 



Parameter 


Value 


Filter Type 


OFF, LPF, 




BPF, HPF, 




PKG, 




LPF2, 




LPF3 



Explanation 

Type of filter 

OFF: No filter is used. 

LPF: Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency in order to round off, or un- 

brighten the sound. 

BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency, and cuts the rest. This can 

be useful when creating distinctive sounds. 

HPF: High Pass Filter. This cuts the frequencies in the region below the cutoff frequency. This is suitable for creating 

percussive sounds emphasizing their higher tones. 

PKG: Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency. You can use this to create 

wah-wah effects by employing an LFO to change the cutoff frequency cyclically. 

LPF2: Low Pass Filter 2. Although frequency components above the Cutoff frequency are cut, the sensitivity of this filter 

is half that of the LPF. This filter is good for use with simulated instrument sounds such as the acoustic piano. 

LPF3: Low Pass Filter 3. Although frequency components above the Cutoff frequency are cut, the sensitivity of this filter 

changes according to the Cutoff frequency. While this filter is also good for use with simulated acoustic instrument 

sounds, the nuance it exhibits differs from that of the LPF2, even with the same TVF Envelope settings. 
* If you set "LPF2" or "LPF3/' the setting for the Resonance parameter will be ignored. 



Cutoff Frequency 



0-127 



Frequency at which the filter begins to have an effect on the waveform's frequency components 



Resonance 



0-127 



Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. 

* Excessively high settings can produce oscillation, causing the sound to distort. 



LPF 



Level 



High 



Frequency 



Cutoff frequency 



^k^ 



Low 



Resonance 

BPF HPF 



PKG 



I 



1^ 




Parameter 



Value 



Explanation 



Cutoff V-Curve 



Cutoff V-Sens 



FIX, 1-7 



-63- +63 



Curve that determines how keyboard playing dynamics (velocity) will affect the cutoff frequency 
Set this to "FIX" if you don't want the Cutoff frequency to be affected by the keyboard velocity. 

12 3 4 5 6 7 

Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. If you want 
strongly played notes to raise the cutoff frequency, set this parameter to positive (+) settings. 



Resonance V-Sens 



-63- +63 



This allows keyboard velocity to modify the amount of Resonance. 

If you want strongly played notes to have a greater Resonance effect, set this parameter to positive (+) settings. 



TVF ENVELOPE 



Parameter 

F-Env Depth 



Value 

-63- +63 



Explanation 

Depth of the TVF envelope 

Higher settings will cause the TVF envelope to produce greater change. Negatr 

envelope. 



? (-) settings will invert the shape of the 




55 




JUNO-G_e.book SG'^-y 200 6^2^130 ^BH ^ft2B#4 4-H- 



Creating a Rhythm Set 



Parameter 



Value 



Explanation 



F-Env V-Curve 



F-Env V-Sens 



F-Env Tl V-Sens 



FIX, 1-7 



-63- +63 



-63- +63 



Curve that determines how keyboard playing dynamics (velocity) wUl affect the TVF envelope 
Set this to "FIX" if you don't want the TVF Envelope to be affected by the keyboard velocity. 

12 3 4 5 6 7 

Specifies how keyboard playing dynamics will affect the depth of the TVF envelope. 

Positive {+) settings will cause the TVF envelope to have a greater effect for strongly played notes, and negative (-) set- 
tings will cause the effect to be less. 

This allows keyboard dynamics to affect the Tl of the TVF envelope. 

If you want Tl to be speeded up for strongly played notes, set this parameter to a positive (+) value. 



F-Env T4 V-Sens 
F-Env Time 1—4 



-63- +63 
0-127 



Use this parameter when you want key release speed to affect the T4 value of the TVF envelope. 

If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. 

TVF envelope times {T1-T4) 

Higher settings will lengthen the time until the next cutoff frequency level is reached. 



F-Env Level 0-4 



0-127 



TVF envelope levels (L0-L4) 

Specify how the cutoff frequency will change at each point, relative to the Cutoff Frequency value. 



TVF Envelope 



Cutoff 
Frequency 





Tl 


T2 


T3 






T4 






/ 


\ 




I 




\ 






/ 




""^ ' 


\ 




Lo: 1 ♦ T 






^ LI L2 L3 


A L4 


Note on 


Note off 



















Time 



Adjusting the Volume (TVA/TVA Envelope) 



TVA PARAMETER 



Parameter 



Tone Level 



Level V-Curve 



Level V-Sens 



Tone Pan 



Random Pan Depth 
Alternate Pan Depth 



Value 



0-127 



FIX, 1-7 



-63- +63 



L64-0-63R 



0-63 
L63-0-63R 



Explanation 



Volume of the tone 

This setting is useful primarily for adjusting the volume balance between tones. 



Curve that determines how keyboard playing dynamics (velocity) will affect the volume 

Set this to "FIX" if you don't want the volume of the tone to be affected by the keyboard velocity. 

\^\AVAY1XL\JLV± 



1 



Set this when you want the volume of the tone to change depending on keyboard playing dynamics. 

Set this to a positive (+) value to have the changes in tone volume increase the more forcefully the keys are played; to 

make the tone play more softly as you play harder, set this to a negative {-) value. 
Left/right position of the tone 



Use this parameter when you want the stereo location to change randomly each time you press a key. 

Higher settings will produce a greater amount of change. 
This setting causes panning to be alternated between left and right each time a key is pressed. 

Higher settings will produce a greater amount of change. "L" or "R" settings will reverse the order in which the pan 

will alternate between left and right. For example if two rhythm tones are set to "L" and "R" respectively, the panning 

of the two rhythm tones will alternate each time they are played. 



TVA ENVELOPE 



Parameter 

A-Env Tl V-Sens 



A-Env T4 V-Sens 



A-Env Time 1-4 



A-Env Level 1-3 



Value Explanation 

-63- +63 This allows keyboard dynamics to affect the Tl of the TVA envelope. 

If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you 

want it to be slowed down, set this to a negative (-) value. 
-63- +63 Use this parameter when you want key release speed to affect the T4 value of the TVA envelope. 

If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you 

want it to be slowed down, set this to a negative (-) value. 
0-127 TVA envelope times (T1-T4) 

Higher settings will lengthen the time until the next volume level is reached. 



0-127 



TVA envelope levels {L1-L3) 

Specify how the volume will change at each point, relative to the Tone Level value. 




56 




JUNO-G_e.book SZ'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



(^ 



Creating a Rhythm Set 



TVA Envelope 

T1 T2 



T3 



T4 



Level 




Note on 



Time 



Output Settings (OUTPUT) 



Parameter 

Rhythm Out Assign 



Tone Out Assign 



Tone Out Level 
Send Level (Output : 



Value Explanation 

MFX, Specifies for each rhythm set how the direct sound will be output. 

A, B, 1- MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi- 

4, effects. 

TONE A, B: Output to the OUTPUT A (MIX) jacks or OUTPUT B jacks in stereo without passing through multi-effects. 

1—4: Output to the INDIVIDUAL 1^ jacks in mono without passing through multi-effects. 

TONE: Outputs according to the settings for each rhythm tone. 

* If you've made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, hut no plug is actually 
inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the 
INDIVIDUAL 1 jack. 

* If the Mix/Parallel parameter is set to "MIX," all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). 



MFX, 
A, B, 1- 
4 



0-127 
MFX) 



Specifies how the direct sound of each rhythm tone will be output. 

MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi- 
effects. 

A, B: Output to the OUTPUT A (MIX) jacks or OUTPUT B jacks in stereo without passing through multi-effects. 
1—4: Output to the INDIVIDUAL 1^ jacks in mono without passing through multi-effects. 

* If the Rhythm Out Assign is set to anything other than "TONE," these settings will he ignored. 

* If you've made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually 
inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the 
INDIVIDUAL 1 jack. 

* If the Mix/Parallel parameter is set to "MIX," all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). 

* If you've set Tone Out Assign to "MFX," set the MFX Output Assign parameter (p. 127) to specify the output destination of the sound 
that has passed through the multi-effects. 

* Sounds are output to chorus and reverb in mono at all times. 

* The output destination of the signal after passing through the chorus is set with the Chorus Output Select and Chorus Output Assign 
parameters (p. 127). 

* The output destination of the signal after passing through the reverb is set with the Reverb Output Assign parameter (p. 127). 
Level of the signal that is sent to the output destination specified by Tone Output Assign 



Tone Chorus Send 



Tone Reverb Send 



0-127 



0-127 



Level of the signal sent to chorus for each rhythm tone if the tone is sent through MFX 



Level of the signal sent to reverb for each rhythm tone if the tone is sent through MFX 



Send Level (Output = non MFX) 



Tone Chorus Send 
Tone Reverb Send 



0-127 Level of the signal sent to chorus for each rhythm tone if the tone is not sent through MFX 

0-127 Level of the signal sent to reverb for each rhythm tone if the tone is not sent through MFX 



Setting Effects for a Patch (Effects/MFX/MFX Control/Chorus/Reverb) 



For details regarding effect settings, refer to tfie pages shown below. 

Making Effect Settings (p. 125) 

iVIaking Multi-Effects Settings (MFX1-3) (p. 129) 

Making Chorus Settings (p. 154) 

Making Reverb Settings (p. 155) 




57 




JUNO-G_e.book SS'^-y 2006^2^130 ^BH ^lt2©44-H- 



4^ 




Playing in Performance Mode 




A performance contains settings that apply to each individual part, 

such as the patch (rhythm set) assigned to each part, and its volume 

and pan. 

Broadly speaking. Performance mode consists of two screens: PLAY 

screen and MIXER screen. 

Use the PLAY screen when you want to combine multiple sounds 

(patches or rhythm sets) to create complex sounds. This lets you play 

patches together ("layer") or play different patches in separate areas 

of the keyboard ("split"). 

Use the MIXER screen when you want to mix the sounds by 

adjusting the level and pan for each of 16 parts. 

When you play the keyboard, you will hear the current part and the 

parts wrhose keyboard swritch is set to "ON." 

In addition to the settings of each part, the following settings can 

also be stored for each performance. 

• Controller settings such as the D Beam 

• Arpeggio and chord memory settings 

• Rliythm group number 

dan 

Changes you make to sound settings are temporary, and will be 
lost if you turn off the power or select another sound. If you want 
to keep the modified sound, you must save it in the internal 
USER group (user memory) or CARD group (memory card). 



(MEMO) 

When you edit the settings of a Performance, an ' 
in the PERFORM PLAY screen. 



' will appear 



Displaying PERFORM PLAY 
Screen 



1 . Press MODE [PERFORM]. 

You will enter Performance mode, and the PERFORM PLAY 
screen appears. 



IJjJjMJ!ljgJfl> meu Song 



: M=aaai 

Part 1 CI^DBES SUD GS) HiisTER J = 1£0 4.^4 

U5ER: KT- e TKAHS:C ARP HOLD CHORD PTH STOP 



EEH JUNO Perform 



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Displaying PART MIXER Screen 



Press MODE [PART MIXER]. 

You will enter Performance mode, and the PART MIXER screen 
appears. 



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Part 1 CI^DBES SUD GS) HiisTER J = 1£0 4.^4 
^RT: ^|||^'^^j^^.^S Brand 

f A AAA A A A A AAA A A A A A 

DLaDD3DR DDDD DDDD DDDD 



rm 55 jgp ts 



r f r f r r r r r r r r 

H5 1E5 gn 115 inn inn inn inn inn inn inn inn 



JW^JbiafcrCHQaREiJir FiLfERYKEV/QUt'^liaMi^ 



Functions in the PERFORMANCE 
PLAY/MIXER Screen 



PLAY screen 



CNew Song 0:i M=aaai 

C3IIDQS MASTER J = 1£0 4.^4- 



iPart 1 CHSII .^ 

USEE! <ia-- a TIjHHS^^flRPHOLD CHORD PTH STOP 

~ JUNa Perf on 



siu Kerrorni 



i iH 1 E 3 .1 [mimimmimimmumiigii 

|ijanb>iBa-uj5^i*iiHj>nia^ja!Hijadti]N5i^Klig^ 



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J 



1 . Indicates the current sound generating mode. 

2. Indicates the current part (use [^] [^] to change). 

3. Indicates multi-effects (MFXl, 2, 3), chorus (CHO), reverb (REV), 
and mastering (MASTER) on and off. 

4. Indicates the name of the currently selected song, the measure location. 

5. Indicates the time signature, and the tempo. 

6. Group, number, and name of the selected performance 

7. Octave and transposition values, arpeggio, arpeggio hold, chord 
memory on/off, rhythm play/stop 

8. Positions of the five SONG RECORDER sliders 

9. Range in which you can play the keyboard, or range in which you 
can play the rhythm set 

1 0. Jump to the editing screen for the displayed function 

MIXER screen 



New 5on3 
Juno-SK 



O: M=aaai 

TER J = 1£a 4.^4- 



A AAA A A A A AAA A A A A A 

D f%^ D D D DDDD 



D LaD D3DR 



Ei] 55 igD 75 



t T t T r r r r r r r r 

D5 1E5 gD 115 1DD 1DD 1DD 1DD 1DD IDD 1DD 1DD 



iWiKajaatrcHQaREiJir fILYer YKEv/oiJtiUadillljgi 



L 



J 



1 . Indicates the current sound generating mode. 

2. Indicates the current part. 

3. Indicates multi-effects (MFXl, 2, 3), chorus (CHO), reverb (REV), 
and mastering (MASTER) on and off. 

4. Indicates the name of the currently selected song, the measure location. 

5. Indicates the time signature, and the tempo. 

6. The patch or rhythm pattern 

7. Group, number, and name of the patch or rhythm pattern 

8. Each part's volume (LEVEL), stereo position (PAN), reverb 
(REVERB), chorus (CHORUS), resonance (RESO), cutoff frequency 
(FREQ), Pitch Coarse (KEY), keyboard switch (KBD), rhythm pattern 
playback part (RHY), arpeggio playback part (ARP), and output 
destination (OUT) setting 

* Use the function buttons to switch screens. 

9. Jump to the editing screen for the displayed function 



■# 



58 




4^ 



JUNO-G_e.book SS'^-y 200 6^2^130 ^BH ^lt2©4 4-H- 



Playing in Performance Mode 




Selecting a Performance 



The JUNO-G has three performance groups, including the User 
group. Preset groups and Memory Card groups. 

USER 

This is the group inside the JUNO-G which can be rewritten. 
Performances you yourself create can be stored in this group. The 
JUNO-G contains 64 preset performances. 

PRST (Preset) 

This is the group inside the JUNO-G which cannot be rewritten. 
However you may modify the settings of the currently selected 
performance, and then store the modified performance in User 
memory. The JUNO-G contains 64 preset performances. 

CARD (Memory Card) 

This group lets you use patches stored on a memory card inserted in 
the rear panel PC card slot. Since the data in this group can be 
rewritten, you can use this group to store patches that you create. 

1 . Press [PERFORM]. 

2. Press [^ ["w] to move the cursor to the performance group. 

Performance group 

Performance number 



mSM 



Part 
U5 



ilJMia LHSM Song 



^^^ : M=aaai 

: KT- e TKAHS:C ARP HOLD CHORD PTH STOP 



sal JUNO Perform 



■jaHb>IBg-UJ5BIHH!»JH»>a^ja!H| I I »IIN"I^Klig^ 



3. Use the VALUE dial, or [INC] [DEC] to select a performance group. 

4. Press [^ ["w] to move the cursor to the performance number. 

5. Use the VALUE dial or [INC] [DEC] to select the 
performance number. 

Selecting Performances from the List 

You can display a list of performances and select a performance from 
that list. 

1 . Press MODE [PERFORM] to access the PERFORM PLAY screen. 

2. Move the cursor to the performance group or performance 
number. 

3. Press [ENTER]. 

The PERFORMANCE LIST screen appears. 



l iJJJAlJ!MiWJ»fct* 



U5EE:aa£ 5a ve 5ome 
U5EE:a03 fluto 51 icer 
U5EE:ae4 Hi3h-Nr-3 
U5EE:ae5 £-byte 
U5EE:006 *Qraceful 
U5EE!aa7 Merrij Festa 



■JJIMJf 



EOBl 



4. To switch the performance group, press [^] [^]. 



5. Use the VALUE dial, [INC] [DEC], or [.a.] [-w] to select the 
performance. 

6. Press [F6 (SELECT)] or [ENTER] to finalize your choice. 

Selecting Favorite Performances 

You can bring together your favorite and most frequently used 
performances in one place by registering them in the Favorite 
Performance. By using this function you can quickly select your 
favorite performances. 

1 . Press MODE [PERFORM] to access the PERFORM PLAY 
screen. 

2. Move the cursor to the performance group or performance 
number. 

3. Press [ENTER] and then press [F1 (FAVORIT)]. 

The FAVORITE PERFORMANCE screen appears. 



la'inUrlai'fl^damrluMEU'w 








t Banki 






H usERiees 






S USER:ei3 


EenOTiMod Me 






S U5ER:e£T 


5huff le-Pop 






a USER:e48 


Phase EP 






S PRST:e56 


£-byte 






S PRST:e59 


Mini Qrowl _ 






B PRST: 048 


Nice"51 icer" M 










^JI^^BJ^aMIJ^Wa^^MM 


K3«3ffi| 



4. Use the VALUE dial, [INC] [DEC], or [▲] [-w] to select a 
performance number. 

To switch banks, press [^] [^]. 

5. Press [F6 (SELECT)] or [ENTER] to finalize your choice. 

Registering a Favorite Performance 

You can register a total of 64 Performances (8 sounds x 8 banks) as 
favorite Performance. 

1 . Select the Performance that you wish to register. 

2. Access the FAVORITE PERFORMANCE screen. 

3. Press [^] [^] to select the bank In which you wish to 
register the Performance. 

4. Use the VALUE dial, [INC] [DEC], or [.a.] [-w] to select the 
number to which you wish to register. 

5. Press [F3 (REGIST)] to execute the registration. 

* To cancel, press [EXIT]. 

(MEMO) 

By pressing [E2 (REMOVE)] you can cancel the Performance 
registration that is selected in the FAVORITE PERFORM screen. 



■# 



59 




4^ 



JUNO-G_e.book eC^-y 2006^2^130 ^BH ^lt2©44-H- 



Playing in Performance Mode 




■# 



Using the PLAY Screen 



Selecting a Part 

The currently selected part is called the "current part." 

1 . From the PERFORM PLAY screen, use [^ [^ to select the part. 



(MEMO) 

You can also select the part by pressing [PART SELECT] to 
make it light and pressing PART SELECT [l]-[8]. 

• To select parts 9-16, press [9-16] to make it light, and then press 
PART SELECT [9]-[16]. 

Selecting the Sound for a Part 

It's easy to switch the patch assigned to a part. 

1 . Select the part whose sound you want to switch. 

2. Press [F1 (PAT LIST)]. 

The PATCH LIST screen appears. 

• If you press [F3 (FAVORIT)], the FAVORITE PATCH screen (p. 28) 
appears. 

• If you press [F4 (CATEG)], you can select patches by category (p. 27). 

• If you press [F5 (PATCH)], the PATCH LIST screen (p. 27) appears. 

• If you press [F6 (RHYTHM)], the RHYTHM LIST screen appears. 

3. Use [F1 (UP)] [F2 (DOWN)] to select a category or bank. 

4. Use the VALUE dial, [INC] [DEC], or [,a.] [▼] to select a patch. 

5. Press [ENTER] to select the patch. 



Combining and Playing 
Sounds Together (Layer) 



In Performance mode you can play the sounds of all parts whose 
Keyboard Switch is on, and all connected parts. Combining the parts 
will produce, thicker, fatter sounds. 



Parti 
(Rxch.1) 




Part 2 
(Rx ch.2) 




Part 15 
(Rxch. 15) 




Part 16 
(Rxch. 16) 




4 




i 




A 






\ 




i 




T 
































Keyboard Switch: 
On 














<y-t> 






! 




















1 (Txch.l) 












2 (Tx ch.2) 










■... 








f! 


!l 


!! 


Iff 




15 (Txch. 15) 






16(Txch.16) 












Rxch 
Txch 


.:R€ 
.:Trc 


C£ 

in 


ive 
3 m 


ChE 
tCh 


inn 

anr 


el 

el 



1 . Press MODE [PERFORM] to access the PERFORM PLAY screen. 

2. Press [F2 (KBD SW)]. 

The Keyboard Switch window appears. 



IJjJjMJ!ljgJfl> meu song 



: M=aaai 

Part 1 CI^DBES SUD GS) HiisTER J = 104 4.^4 

USEE: OCT: a TF;«HS:C HiDliUli) CHORD PTH STQP 




OOOOOOOOOOj 



3. Press [^] [^] to select the part you want to sound. 



4. 



Use the VALUE dial, [INC] [DEC], or [,a.] [-▼'] to select "ON." 

When you play the keyboard, you will hear the current part and 
the parts whose keyboard switch is set to "ON." 



(MEMO) 

Press [PART SELECT] so it's lit, then press PART SELECT [1]- 
[8] to turn on/off the selected part. 

* To turn parts 9-16 on/off, press [9-16] so it's lit, then press PART 
SELECT ]9]-[16]. 

5. Repeat steps 3-4 to turn the Keyboard Switch on for all 
parts that are connected to the parts you want to play. 

6. Press [F6 (CLOSE)] to return to the PERFORM PLAY screen. 



About the keyboard s>vitch 

Use the keyboard switch when you want to play multiple 
sounds layered together (Layer) or assign different sounds to 
different regions of the keyboard (Split). Conversely, you can 
turn off all keyboard switches when you are creating data, etc. 



60 




JUNO-G_e.book 61 '^-y 200 6^2^130 ^ms ^ft2B#4 4-H- 



(^ 



Playing in Performance Mode 



Playing Different Sounds in 
Different Areas of the 
Keyboard (Split) 



In Performance mode you can divide the keyboard and play a 
different patch in each area (this is called "split"). As the note range 
that plays each part can be specified individually, you can split the 
keyboard into a maximum of 16 sections. 

For instance, you can play strings in the lower range, piano in the 
upper range, and both sounds in the middle range. 



I!l!!!ll!ll!!l!!lll!l!!lll!ll!l!!! 



Part 1: Strings 



Part 1 + Part 2: 
(Strings + Piano) 



Part 2; Piano 



(MEMO) 

A split performance is one application of a layer. Changing the 
key range of each part in the layer results in a split. 

1 . Press MODE [PERFORM] to access the PERFORM PLAY 
screen. 

2. Press [F4 (KEYRANG)]. 

The Key Range window appears. 



MJJJAlJilJMig 



Part 1 CE^DBE 

U5EE: OCT: 

00 1 Bui 



■!U!Br^a=FJ=fc1ii»l 



Kbd5N Lower Upper 



IH 1 E 3 u 



uuuiimmmjmmimmimmj 



3. Press [^ Iw] to select the part you want to play. 

4. Press [F3 (KBDSW)]-[F5 (UPPER)] or [^] [^] to select the 
parameter. 

5. Use the VALUE dial or [INC] [DEC] to change the setting. 



Parameter 

KbdSW 



Lower 



Value Explanation 

OFF, ON Specifies whether or not the part will sound. 



C - -Upper Lower limit of the range 



Upper Lower-G9 Upper limit of the range 

The bar showm above the keyboard indicates the range of keys 
that will sound. 

i. When you are finished, press [F6 (CLOSE)] to return to the 
PERFORM PLAY screen, and begin playing. 



(MEMO) 

By specifying sections for different parts so that they overlap 
each other, you can combine two or more parts only in a specific 
section. 



Using the MIXER Screen 



Selecting a Part 

The currently selected part is called the "current part." 

1 . In the PART MIXER screen, press [.▲] to move the cursor to 
the Part number. 



IJJA«iHIJJ 

Part BlllliiftJ 



^^^ [Heu So ng : M=aaai 

CI^DBES SUD GS) HiisTER J = 104 4.^4 
PE-F!SS7 AMP EP 



LaD D DaDR 



L1SUDRDD DDDD DDDD 



r r r r 



r T r r r f r r r r r r 

iin 115 inn iqd inn ist inn inn inn inn inn inn 



13 TE 95 95 



2. Use the VALUE dial or [INC] [DEC] to select the part. 



(MEMO ) 

You can also select the part by pressing [PART SELECT] to 
make it light and pressing PART SELECT [l]-[8]. 

* To select parts 9-16, press [9-16] to make it light, and then press 
PART SELECT [9]-[16]. 

Selecting the Sound for a Part 

You can switch the patch that is assigned to a part. 

1 . Select the part whose sound you want to switch. 

2. Press [.▲] ['^] [^] [^] to move the cursor to the patch 
number or patch group. 




!A«AAAAAAAAAA 

Li5UDRnn nnnn nnnn 



irrrr rTrrrfrrrrrr 

J TE 95 95 9D 119 115 iDn iQn inn 1ST inn inn inn inn inn inn 
iWiKajaatrcHoahEiJir FiLtEh'YKEv/QiJtiUadillljgi 



3. Use the VALUE dial or [INC] [DEC] to select a patch. 

Selecting the Rhythm Set 

1 . Select a part. 

2. Press [^ [^ [^] [^] to move the cursor to the following 
location. 



IJJAJiiigu :New 5on3 : M=aaai 

Part 1 CI^DBES SUD GS) HiisTER J = 104 4.^4 
PE-Fi!aai 5q true. 



SC SC SVC SVC 
Lan n nanR 



Li5UDRnn nnnn nnnn 



irrrr TTTrrrTTTTrr 

J TE 95 95 9D 119 115 IDn IQn inn 1ST inn inn inn inn inn inn 
iWiKajaatrcHQaREiJir fILYer YKEv/QiJtiUadillljgi 



3. Use the VALUE dial or [INC] [DEC] to select "RHY." 

The rhythm set will be selected. 




61 




JUNO-G_e.book 62 '^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Playing in Performance Mode 



Editing the Part Settings 



In the PART MIXER screen you can set the following parameters for 
each part. 

1 . Press MODE [PART MIXER] to access the PART MIXER screen. 

2. Press [F1 (LVL&PAN)HF4 (KEY/OUT)] to select the function. 

3. Use [^ [-w] [^] [^] to select the parameter and part that 
you want to edit. 

4. Use the VALUE dial or [INC] [DEC] to change the setting. 



Parameter 
(Function Button) 

[Fl (LVL&PAN)] 
[F2 (CHO&REV)] 



[F3 (FILTER)] 
[F4 (KEY/OUT)] 



Explanation 

The part's volume (Level, p. 64) and panning 
(left/right position) (Pan, p. 64) 

The amount of signal sent from each part to 
chorus (Chorus, p. 65) and to reverb (Reverb, 

P,65) 

The part's CUTOFF and RESONANCE values 

KEY The part's pitch (semitone units, +/-4 

octaves) (Coarse, p. 65) 
KBD Keyboard Switch (p. 60) 
RHY Rhythm Part 



ARP Arpeggio Part (p. 74) 
OUT Output Assign (Asgn, p. 65) 

Silencing the Playback of a Specific 
Part (Mute) 

When playing along mth a song, you can turn off (i.e., mute) parts 
you don't want to hear. This allowrs you to turn off the melody part 
for karaoke applications or for practicing the muted part. 

1 . Press MODE [PART MIXER] to access the PART MIXER screen. 

2. Press [F6 (MUTE)]. 

The Part Mute window appears. 

3. Press [^] [^] to select the part you want to mute. 

4. Use the VALUE dial, [INC] [DEC], or [a] [-w] to select "ON." 

Parts wrhose mute setting is "ON" will not be heard. 



(MEMO ) 

Press [PART SELECT] so it's ht, then press PART SELECT [1]- 
[8] to turn on/off the selected part. 
* To turn parts 9-16 on/off, press [9-16] so it's lit, then press PART 
SELECT [9]-[16]. 

5. Press [F6 (CLOSE)] to return to the previous screen. 



(MEMO) 

This setting can be saved as a performance setting. 

Part Mute does not turn off the MIDI receive switch; rather, it sets the 
volume to the minimum setting to silence the sound. Therefore, MIDI 
messages are still received. 




62 




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Creating a Performance 



With the JUNO-G, you have total control over a wide variety of 
settings. Each item that can be set is known as a parameter. When 
you change the values of parameters, you are doing what is referred 
to as Editing. This chapter explains the procedures used in creating 
Performances, and the functions of the Performance parameters. 



Adjusting the Parameters of 
Each Part 



In Performance mode you can view the part settings as a list. This is 
called the "PART VIEW" screen. In this screen you can view a list 
that shows settings for eight parts at once, such as the patch assigned 
to each part, and its volume and pan settings. You can also edit these 
settings here, and make detailed settings that cannot be made in the 
PERFORM PLAY screen, or PART MIXER screen. 

1 . Access the PERFORIW PLAY screen or the PART MIXER 
screen. 

2. Press [F5 (PARTVIEW)]. 

The PART VIEW screen will appear. 



I3SI; 


iBUIdSB 


Patch Number 


Type 


srcuF- 


Number 


^ 1 


Patilfi 


PE-F 


i^T^^ H dmi EcnHm^^^msfl 


^ 


Patch 


PE-F 


018 Ihtrusive Bs 5E5 


3 


Patch 


PE-E 


005 Power Chord DQT 


4 


Patch 


PE-F 


033 Poly Erass 5EE 


5 


Patch 


PE-F 


105 Voco Eiff PLS 


1=. 


Patch 


PE-E 


1£8 Tb 5ectiOh EE5 


7 


Patch 


PE-fi 


001 Juho-Q Qrand PNO 


S 

■an 


Patch 


PE-fi 


001 Juho-6 Grand PNO 


tsm;LDL 


'HHN-r PITCH -r OUTPUT -r Fx SRC -^aaaaji 



3. Press [.▲] [^ to select the part. 

4. Press [F1]-[F6], and/or [^] [^] to select the parameter. 

The name of the parameter at the cursor location is displayed in 
the top line of the PART VIEW screen. 

5. Use the VALUE dial or [INC] [DEC] to change the value. 

6. When you've finished making settings, press [EXIT] to 
return to the previous screen. 

If you return to the previous screen without saving, an "*" will 
be displayed at the left of the performance group. 

If you turn off the power or select a different sound while the 
display indicates "*," your edited rhythm set will be lost. 

Initializing Performance Settings 

"Initialize" means to return the settings of the currently selected 
sound to a standard set of values. 

* The Initialize operation will affect only the currently selected sound; 
the sounds that are stored in user memory will not he affected. If you 
wish to restore all of the JUNO-G's settings to their factory values, 
perform a Factory Reset (p. 164). 

1 . Press MODE [PERFORM] to access the PERFORM PLAY 
screen. 

2. Select the Performance that you want to initialize (p. 59). 



3. Hold down [SHIFT] and press [F6 (INIT)]. 

The Performance Initialize window appears. 

4. Press [^ [^ to select the initialization type. 

Default: Resets the currently selected performance in 

the Temporary memory to the standard 
values. Use this setting when you wish to 
create a sound from scratch. 

Sound Control: Initializes the values of the following part 
parameters. 

Cutoff Offset, Resonance Offset, 
Attack Time Offset, Release Time Offset, 
Decay Time Offset, Vibrato Rate, 
Vibrato Depth, Vibrato Delay 

5. Press [F6 (SELECT)]. 

A message will ask you for confirmation. 

6. Press [F6 (EXEC)]. 

The initialization will be carried out. 

* To cancel, press [F5 (CANCEL)]. 



Changing the Settings of the 
Patch Assigned to a Part 



When using patches (or rhythm sets) in Performance mode, some 
settings such as effects settings will be affected by Performance 
settings. If you wish to edit a patch (rhythm set) while hearing how it 
will sound in the Performance, use this procedure: 

1 . Make sure that MODE [PERFORM] is lit. 

2. Press EDIT [PATCH]. 

The patch (rhythm set) assigned to the current part is displayed 
in the PATCH EDIT screen. 

3. The rest of the procedure is the same as when making 
changes in Patch mode (p. 30, p. 49). 

dan 

When you've edited a patch, press EDIT [WRITE] to save the 
patch. 



Saving a Performance 
YouVe Created (Write) 



Changes you make to sound settings are temporary, and will be lost 
if you turn off the power or select another sound. If you want to keep 
the modified sound, you must save it in the internal USER group 
(user memory) or CARD group (memory card). 
When you edit the settings of a Performance, an "*" will appear in 
the PERFORM PLAY screen. 



csm 

When you perform the save procedure, the data that previously 
occupied the save destination will be lost. 

1 . Edit the performance. 

2. Press [WRITE]. 




63 




JUNO-G_e.book 64'^-y 2006^2^130 ^WH ^ft2a#44-H- 



Creating a Performance 



The WRITE MENU screen appears. 









^^^^^^^1 Perfoh-mance 




Patch/Rhythm 


■Jij^iaamnii 


Sample 


Kj^aijwj 





3. Press [F1 (PERF)]. 

* Alternatively , you can use [^] I'w] to select "Performance, " and 
then press [ENTER]. 
The PERFORMANCE NAME screen appears. 

4. Assign a name to the performance. 



[3I> 

For details on assigning names, refer to Assigning a Name (p. 24). 

5. When you have finished inputting the name, press [F6 (WRITE)]. 

A screen will appear, allowing you to select the write- 
destination performance. 

6. Use the VALUE dial, [INC] [DEC], or [,▲.] [▼'] and [F1 (USER)] 
[F2 (CARD)] to select the write destination and rhythm set 
number. 

7. Press [F6 (WRITE)]. 

A message will ask you for confirmation. 

8. Press [F6 (EXEC)] to execute the save operation. 

* To cancel, press [F5 (CANCEL)]. 

Never switch off the JUNO-G while data is heing saved. 

When Changing the Settings for the 
Patch or Rhythm Set Assigned to a 
Part in a Performance 

If you've edited a patch or rhythm set assigned to a part in a 
performance and then try to save the performance without first 
saving the edited patch or rhythm set, the following message 
appears. 




A 



Edited patch or rhythm set will be discarded? 
'(\ fire ycu sure? 

press :f6 (EKEC)]. BaajiBaMMgaaa 



In such cases, first save the patches and rhythm sets, and then save 
the performance. 



Functions of Parameters of 

Each Part 

(Performance Parameters) 



[F5 (PART VIEW)] 



[Fl (PATCH)] 




Parameter 


Value 


Explanation 


Type 


Patch, 


Sets the assignment of a patch (Patch) or rhytfim 




Rhythm 


set (Rhythm) to each of the parts. 


Group 


USER, 


Selects the group to which the desired patch be- 




PR-A-F, 


longs. (* If Type is Patch) 




GM, 


USER: User 




CARD, 


PR-A-F: Preset A-F 




USAM, 


GM: General MIDI (GM2) 




CSAM, 


CARD: Card 




EXP 


USAM: User Sample 
CSAM: Card Sample 
EXP: Wave Expansion Board 


USER, 


Selects the group to which the desired rhythm 




PRST, 


set belongs. (* If Type is I^ythm) 




GM, 


USER: User 




CARD, 


PRST: Preset 




EXP 


GM: General MIDI (GM2) 

CARD: Card 

EXP: Wave Expansion Board 


Number 


001-**** 


Selects the desired patch or rhythm set by its 
number. 



* When the cursor is at a Type, Group, or Number, you can press 
[ENTER] to open the PATCH LIST screen and choose a patch from 
the list (p. 27). 

[F2 (LVL PAN)] 



Parameter 


Value 


Explanation 


Level 


0-127 


Volume of each part 

This setting's main purpose is to adjust 
the volume balance between parts. 


Pan 


L64-0-63R 


Left/right position of each part 


Kbd 


OFF, ON 


Specifies, for each part, whether or not the 
keyboard controller section will be con- 
nected to the internal sound generator. 


Solo 


OFF, ON 


Check "•" this setting if you want to hear 
the part by itself; this is called "soloing" 
the part. 


Mute 


OFF, ON 


Mutes (•) or un-mutes (OFF) each part. 
Use this setting when, for example, you 
want to use the instrument for karaoke 
by muting the part playing the melody, 
or when you want to play something 
using a separate sound module. 

* The Mute Switch parameter does not turn 
the fart off, hut sets the volume to mini- 
mum so tliat no sound is heard. Therefore, 
MIDI messages are still received. 




64 




JUNO-G_e.book eS'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Creating a Performance 



[F3 (PITCH)] 




Parameter 


Value 


Explanation 


Octave 


-3- +3 


Pitch of the part's sound (in 1-octave units) 

* Note that when a rhythm set is assigned to a part, you cannot modify this parameter. 


Coarse 


-48- +48 


Pitch of the part's sound (in semitones, +/-4 octaves) 


Fine 


-50- +50 


Pitch of the part's sound (in 1-cent steps; one cent is 1/ 100th of a semitone) 


Bend 


0-24, PAT 


Amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is moved. 
The amount of change when the lever is tilted is set to the same value for both left and right sides. 
If you want to use the Pitch Bend Range setting of the patch assigned to the part (p. 37), set this to "PAT." 



Coarse Tune and Octave Shift 

The Coarse Tune and Fine Tune parameters, along with the 
Octave Shift parameter, can all be seen as doing the same thing to 
the sound, i.e., changing the pitch of the sound. For example, if C4 
(Middle C) is played with the Coarse Tune parameter set to "+12," 
the note produced is C5 (one octave above C4). For example, if C4 
(Middle C) is played with the Octave Shift parameter set to "+1," 
the note produced is C5 (one octave above C4). 



However, internally these function very differently. When the 
Coarse Tune parameter is set to "+12," the pitch itself is raised one 
octave. On the other hand, when the Octave Shift parameter is set 
to "+1," it is the same as pressing the keys one octave up. In other 
words, use the Coarse Tune parameter when changing the pitch, 
and the Octave Shift parameter when you want to shift the entire 
keyboard, for example, when the number of keys is insufficient. 



[F4 (OUTPUT)] 



Parameter 



Value 



Asgn 



MFX 1-3, A, 
B, 1-4, PAT 
1-3 



Output 


0-127 


Chorus 


0-127 


Reverb 


0-127 



Explanation 



Specifies for each part how the direct sound will be output. 

MFX 1—3: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi- 
effects. Specify which multi-effects (1-3) will be used. 

A, B: Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects. 
1-4: Output to the INDIVIDUAL 1-4 jacks in mono without passing through multi-effects. 

PAT 1-3: The part's output destination is determined by the settings of the patch or rhythm set assigned to the part. Specify 
which multi-effects (1-3) will be used. 

* If you've made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, hut no plug is actually 
inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will he mixed and output from the IN- 
DIVIDUAL 1 jack. 

* If the Mix/Parallel parameter is set to "MIX," all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). 

* If you've set Tone Out Assign to "MFX," set the MFX Output Assign parameter to specify the output destination of the sound that has 
passed through the multi-effects. 

• Chorus and reverb are output in mono at all times. 

• The output destination of the signal after passing through the chorus is set with the Chorus Output Select and Chorus Output 
Assign parameters (p. 127). 

• The output destination of the signal after passing through the reverb is set with the Reverb Output Assign parameter (p. 127). 



Level of the signal that is sent to the output destination specified by Part Output Assign 
Level of the signal sent to chorus for each part 
Level of the signal sent to reverb for each part 



[F5 (FX SRC)] 



Parameter 


Value 


Explanation 




MFXl-3 


OFF, ON (•) 


The settings of a specific patch can be used as the settings for MFX1-MFX3, chorus, and reverb 
to which this patch has been assigned. 

If no part is selected, the settings of the Performance will be used. 


This setting specifies the part 


Chorus 


Reverb 


[PAGE i] - 


[Fl (OFFSET)] 




Parameter 


Value 


Explanation 


Cutoff 


-64- +63 


Adjusts the cutoff frequency for the patch or rh5rthm set assigned to a part. 


Reso 


-64- +63 


Adjusts the Resonance for the patch or rhythm set assigned to a part. 



Attack 
Releas 
Decay 



-64- +63 Adjusts the TVA/TVF Envelope Attack Time for the patch or rhythm set assigned to a part. 

-64- +63 Adjusts the TVA/TVF Envelope Release Time for the patch or rhythm set assigned to a part. 

-64- +63 Adjusts the TVA/TVF Envelope Decay Time for the patch or rhythm set assigned to a part. 



[PAGE i] 

Parameter 



[F2 (VIBRATO)] 



Value 



Explanation 



Vib Rate 



-64- +63 



For each part, adjust the vibrato speed. 



Depth 



-64- +63 



For each part, this adjusts the depth of the vibrato effect. 



Delay 



-64- +63 



For each part, this adjusts the time delay until the vibrato. 



Phase OFF, ON Set to "ON" when you want to suppress discrepancies in timing of parts played on the same MIDI channel. 

* When this parameter is set to "ON," parts on the same MIDI channel are put in a condition in which their timing is matched, enabling 
them to be played at the same time. Accordingly, a certain amount of time may elapse between reception of the Note messages and playing 
of the sounds. Turn this setting to "ON" only as needed. 




65 




JUNO-G_e.book eS'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Creating a Performance 



[PAGE i] - [F3 (KEYBORD)] 



Parameter 



Value 



Explanation 



Kbd 



OFF, ON (•*) Specifies, for eacti part, whether or not the keyboard controller section wiU be connected to the internal sound generator. 



K.L 



C - -(Upper) 



Lowest note that the tone will sound for each part. 



K.U 



(Lower)-G9 



Highest note that the tone will sound for each part 

When the Key Range (p. 37) is set for each individual tone in a patch, sounds are produced in the range where the Key Range 
of each tone and the Key Range for the part overlap. 





Key range specified for Performance 


1 




1 




1 






1 




1 




/ 


* 










1 




1 



















/ Key range specified for Patch 
The range in which notes will play 



Velo -63- +63 Changes the volume and cutoff frequency for each part according to the velocity with w^hich the keys are pressed. 

If you want strongly played notes to raise the volume/cutoff frequency, set this parameter to positive (+) settings. If you 
want strongly played notes to lower the volume/cutoff frequency, use negative (-) settings. Set Velocity Sensitivity to "0" 
when you want sounds played at a fixed volume and cutoff frequency, regardless of the force with which the keys are 
played. 

Curve OFF, \-^ Selects for each MIDI channel one of the four following Velocity Curve types that best matches the touch of the connected MIDI 

keyboard. 

Set this to "OFF" if you are using the MIDI keyboard's own velocity curve. 



UUkCC 



Voice 



Ch 



0-63, FUL 



1-16 



This setting specifies the number of voices that will be reserved for each part when more than 128 voices are played simulta- 
neously. 

* It is not possible for the settings of all parts to total an amount greater than 64. The remaining number of available voices will be displayed 
at (rest=). Pay attention to this readout as you make Voice Reserve settings. 

MIDI receive channel for each part 



Calculating the Number of Voices Being Used 

The JUNO-G is able to play up to 128 notes simultaneously. The 
polyphony, or the number of voices (sounds) does not refer only 
to the number of sounds actually being played, but changes 
according to the number of tones used in the patches, and the 
number of Waves used in the tones. The following method is used 



to calculate the number of sounds used for one patch being 

played. 

(Number of Sounds Being Played) x (Number of Tones Used by 

Patches Being Played) x (Number of Waves Used in the Tones) 

Realtime Stretch requires twice the normal polyphony. 



[PAGE i] - [F4 (KEY MOD)] 



Parameter 

Mono /Poly 



Legato 



Portament 



Time 



Value 

MONO, POLY, 
PAT 



OFF, ON, PAT 



OFF, ON, PAT 



0-127, PAT 



Explanation 

Set this parameter to "MONO" when the patch assigned to the part is to be played monophonically, or to "POLY" when the 
patch is to be played polyphonically. If you want to use the Mono/Poly setting of the patch assigned to the part (p. 37), set this 
to "PAT." 

* This setting is ignored for farts to which a rhythm set is assigned. 

You can add legato when performing monophonically. The term "legato" refers to a playing style in which notes are smoothly 
connected to create a flowing feel. This creates a smooth transition between notes, which is effective when you wish to simulate 
the hammering-on and puUing-off techniques used by a guitarist. 

Turn this parameter "ON" when you want to use the Legato feature and "OFF" when you don't. If you want to use the Le- 
gato Switch setting of the patch assigned to the part (p. 37), set this to "PAT." 

* This setting is ignored for parts to which a rhythm set is assigned. 

Specify whether portamento will be applied. 

Turn this parameter "ON" when you want to apply Portamento and "OFF" when you don't. If you want to use the Porta- 
mento Switch setting of the patch assigned to the part {p. 37), set this to "PAT." 

When portamento is used, this specifies the time over which the pitch will change. 

Higher settings will cause the pitch change to the next note to take more time. If you want to use the Portamento Time setting 
of the patch assigned to the part (p. 37), set this to "PAT." 



[PAGE i] - [F5 (S.TUNE)] 



Parameter 


Value 


Explanation 


Part Scale Tune for C-B 


-64- +63 


Make scale tune settings for each part. 

Scale Tune is switched on/off by means of the Scale Tune Switch parameter (p. 159). 




66 




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(^ 



Creating a Performance 



Equal Temperament 

This tuning divides the octave into 12 equal parts, and is the most 
widely used method of temperament used in Western music. The 
JUNO-G employs equal temperament when the Scale Tune Switch 
is set to "OFF." 

Just Temperament (Tonic of C) 

Compared with equal temperament, the principle triads sound 
pure in this tuning. However, this effect is achieved only in one 
key, and the triads will become ambiguous if you transpose. 



Arabian Scale 

In this scale, E and B are a quarter note lower and C#, F# and G# 
are a quarter-note higher compared to equal temperament. The 
intervals between G and B, C and E, F and G#, Bb and C#, and Eb 
and F# have a natural third-the interval between a major third and 
a minor third. On the JUNO-G, you can use Arabian temperament 
in the three keys of G, C and F. 



<Example> 



Note name 


Equal temperament 


Just Temperament (tonic C) 


Arabian Scale 


C 








-6 


c# 





-8 


+45 


D 





+4 


-2 


Eb 





+16 


-12 


E 





-14 


-51 


F 





-2 


-8 


F# 





-10 


+43 


G 





+2 


-4 


G# 





+14 


+47 


A 





-16 





Bb 





+14 


-10 


B 





-12 


-49 



MIDI Settings 



1 . Access the PERFORM PLAY screen, and select the Performance whose settings you wish to modify (p. 59). 

2. Press [F6 (IVIIDI)]. 

The MIDI FILTER screen appears. 



Parameter 

PC (Program Change) 



Value Explanation 

OFF, ON (•) For each part, specify whether MIDI messages will be received (ON), or not (OFF). 

If this is "OFF," the part will not respond. Normally, you should leave this "ON," but you can turn it 
"OFF" when you do not want a specific part to be playing during song playback. 

OFF, ON (•*) For each MIDI channel, specify whether MIDI messages will be received (ON), or not (OFF). 



BS (Bank Select) 



PB (Pitch Bend) 



PA (Polyphonic Key Pressure) 
CA (Channel Pressure) 
Md (Modulation) 
Vo (Volume) 
Pn (Pan) 



Ex (Expression) 



Hd (Hold-1) 




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Creating a Performance 



Settings for the D Beam and 
the Controller 



The JUNO-G lets you assign the parameters that will be affected 
when you operate the D Beam. 

1 . Access the PERFORM PLAY screen, and select the 
Performance whose settings you wish to modify (p. 59). 

2. Press [F3 (CONTROL)]. 

The CTRL SETTING screen appears. 

3. Press [F2]-[F5] and/or [^ [■w] to select the parameter. 

4. Use the VALUE dial or [INC] [DEC] to change the value. 

5. Repeat steps 3-5 to set each parameter you want to edit. 

6. Press [WRITE] to save the changes you've made. 

If you do not wish to save changes, press [EXIT] to return to 
the PERFORM PLAY screen. 

* Settings for the Active Expression and Solo Synth are saved for 
system settings. Press [F6 (WRITE)] to execute the write operation. 
If you return to the PERFORM PLAY screen without saving, an 
"*" will be displayed at the left of the Performance group. 

If you turn off the power or select a different sound while the 
display indicates "*," your edited Performance will be lost. 



[F2 (TEMPO)] 



Recommended Tempo 

If you want the song recorder tempo to change when you switch 
Performances, specify the tempo that will follow this change. This 
setting is valid when the Seq Tempo Override parameter is "ON." In 
order to enable this setting, turn on the Tempo Override parameter. 
VALUE: 20-250 

* This value is specified independently for each performance. This means 
that when you switch performances, the tempo setting of the ]UNO-G 
will change. 

* The song recorder tempo will be overwritten to the new tempo when 
you switch performances. 

[F3 (DB ASGN)] 

For details, refer to ASSIGNABLE (p. 71). 

[F4 (DB EXP)] 

For details, refer to ACTIVE EXPRESSION (p. 71). 

[F5 (DB SYN)] 

For details, refer to SOLO SYNTH (p. 70). 



Control Switch Settings [F1 (CTRL SW)] 

You can change controller switch on/off settings for each patch in 
the performance. 

1 . In the CONTROL SETTING(PERF) screen, press [F1 (CTRL SW)]. 

The CONTROL SW(PERF) screen appears. 

2. Use [^] ["w] [^] [^] to select the parameter. 

3. Use the VALUE dial or [INC] [DEC] to change the setting. 

4. Repeat steps 2-3 to set each parameter you want to edit. 

5. Press [F6 (EXIT)] to return to the previous screen. 
[F1 (CTRLSW)] 



Parameter 


Value 


Explanation 


P.B 


OFF, 

ON(i/) 


For each part, specify whether MIDI Pitch Bend 
messages will be transmitted. 


Mod 


For each part, specify whether MIDI Modulation 
messages will be transmitted. 


Hold 


For each part, you can specify whether control 
messages from a pedal connected to the HOLD 
PEDAL jacks will be transmitted. 


Ctrl 


For each part, you can specify whether control 
messages from a pedal connected to the CON- 
TROL PEDAL jacks will be transmitted. 


DBeam 


Specifies whether each part will be controlled by 
the D Beam. 


Knob C/R 


On/off setting for allowing the SOUND MODL 
FY section's CUTOFF/RESONANCE knob to 
control each part. 



[F2 (EXT)] 



Parameter 


Value 


Explanation 


Bank Sel 
(MSB) 


0-127, 
OFF 


If you want a Bank Select number MSB (controller 
number 0) to also be transmitted when you switch 
Performances, specify the value that you want to 
transmit (0-127) for each part. 

If you do not want this message to be transmit- 
ted, set this to "OFF." 
* The data of the part for which the Keyboard Switch 
is turned off will not be transmitted. 


Bank Sel 
(LSB) 


0-127 


If you want a Bank Select number LSB (controller 
number 32) to also be transmitted when you 
switch Performances, specify the value that you 
want to transmit (0-127) for each part. 

* The data of the part for which the Keyboard Switch 
is turned off will not be transmitted. 


Prog 


1-128, 
OFF 


If you want a Program Change number to also be 
transmitted when you switch Performances, spec- 
ify the value that you want to transmit (0-128) for 
each part. 

If you do not want this message to be transmit- 
ted, set this to "OFF." 
* The data of the part for which the Keyboard Switch 
is turned off will not be transmitted. 


Level 


0-127, 
OFF 


If you want Volume messages to also be transmit- 
ted when you select a Performance, specify the 
desired value (0-127) for the part. 

If you do not want this message to be transmit- 
ted, set this to "OFF." 
* The data of the part for which the Keyboard Switch 
is turned off will not he transmitted. 


Pan 


L64- 

0-63R, 

OFF 


If you want Pan messages to also be transmitted 
when you select a Performance, specify the de- 
sired value (L64-0-63R) for the part. If you do not 
want this message to be transmitted, set this to 
"OFF." 

* These messages will not he transmitted by parts 
whose Keyboard Switch is turned off. 




68 




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Modifying the Sound in Real Time 



You can use the D Beam controller or a control pedal to modify the 
sound while you perform. 

Here we will explain the procedures and settings for using these 
functions in Patch mode. The operations are the same in 
Performance mode. 



D Beam Controller 



The D Beam controller can he used simply by waving your hand 
over it. It can be used to apply various effects, depending on the 
function that is assigned to it. You can also create effects in which the 
sound changes instantaneously, in a way that would not be possible 
by operating a knob or the bender lever. On the JUNO-G, the D 
Beam controller can be used not only to modify the sounds, but also 
to control the pitch of a monophonic (solo) synthesizer sound. 



1. 



2. 



Press either the D BEAM [SOLO SYNTH], [ACTIVE EXPRESS], 
or [ASSIGNABLE] button to turn on the D Beam controller. 



[SOLO SYNTH]: 



[ACTIVE EXPRESS]: 



[ASSIGNABLE]: 



Lets you use the D Beam as a 

monophonic synthesizer. 

The D Beam will add the ideal type of 

expression for each sound. 

Operates the function assigned to the D 

Beam controller. 



While you play the keyboard to produce sound, place your 
hand above the D Beam controller and move it slowly up 
and down. 

An effect will be applied to the sound, depending on the 
function that is assigned to the D Beam controller. 

To turn off the D Beam controller, once again press the 
button you pressed in step 1 so the indicator goes out. 



(MEMO) 

If Performance mode is selected, the D Beam controller on/off 
setting is saved for each performance as part of the performance 
settings. 



The usable range of the D Beam controller 

The followring diagram shows the usable range of the D Beam 
controller. Waving your hand outside this range will produce 
no effect. 




The usable range of the D Beam controller mil become 
extremely small when used under strong direct sunlight. 
Please be aware of this when using the D Beam controller 
outside. 



csm 

The sensitivity of the D Beam controller will change depending 
on the amount of light in the vicinity of the unit. If it does not 
function as you expect, adjust the D Beam Sens parameter as 
appropriate for the brightness of your location. Increase this 
value will raise the sensitivity (p. 162). 




69 




JUNO-G_e.book yC^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Modifying the Sound in Real Time 



SOLO SYNTH 

On the JUNO-G you can play a monophonic synthesizer whose pitch 
is controlled by the D Beam. 

1 . Hold down [SHIFT] and press D BEAM [SOLO SYNTH]. 

A screen like the following appears. 



MJJ»=i^**<iHlfc«btJ jiim D Beam Solo Synth 



iCLevel a EanseD" 
Level 



Chorus Send Level 
Reverb Send Level 

i:osc1 ] 
Osc 1 Waveform 

r'ii'B'flSSHY'DB'EXF'" 



_KQ 



30 

30 

SOCT 



2. Press [^ ["w] to select the parameter. 

3. Use the VALUE dial or [INC] [DEC] to make the setting. 

4. If you want to save the settings, press [F6 (WRITE)]. 



Press [F3 (DB ASGN)] to access the D Beam assignment screen, 
or [F4 (DB EXP)] to access the D Beam active expression screen. 

5. Press [EXIT] to return to the previous screen. 



(MEMO) 

Setting for the Solo Synth are saved for system settings. 



Parameter 


Value 


Explanation 


Level & Range 


Level 


0-127 


Sets the volume. 


Chorus Send Level 


0-127 


Level of the signal sent to chorus 


Reverb Send Level 


0-127 


Level of the signal sent to reverb 


Range 


20CT, 
40CT, 
SOCT 


Range in which the pitch of the solo synth will vary 


Osc1 


Osc 1 Waveform 


SAW, 
SQR 


Waveform 

SAW: Sawtooth wave 
SQR: Square wave 


Osc 1 Pulse Width 


0-127 


Pulse width of the waveform 

By cyclically modifying the pulse width you can create subtle changes in the tone. 
* The Pulse Width is activated when "SQR" is selected with OSCl/2 waveform. 


Osc 1 Coarse Tune 


-48- +48 


Pitch of the tone's sound (in semitones, +/-4 octaves) 


Osc 1 Fine Tune 


-50- +50 


Pitch of the tone's sound (in 1-cent steps) 


Osc2 & Sync 


Osc 2 Waveform 


{same as Osc 1) 


Osc 2 Pulse Width 


Osc 2 Coarse Tune 


Osc 2 Fine Tune 


Osc 2 Level 


0-127 


Adjust the level. 


Osc Sync Switch 


OFF, ON 


Turning this switch on produces a complex sound with many harmonics. 
This is effective when the OSCl pitch is higher than the OSC2 pitch. 


Filter 


Filter Type 


OFF,LPF, 
BPF, 
HPF, 
PKG 


Type of filter 

OFF: No filter is used. 

LPF: Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency (Cutoff) in order to round 

off, or un-brighten the sound. 

BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency, and cuts the rest. 

HPF: High Pass Filter. This cuts the frequencies in the region below the cutoff frequency. 

PKG: Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency. 


Cutoff 


0-127 


Frequency at which the filter begins to have an effect on the waveform's frequency components 


Resonance 


0-127 


Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. 

* Excessively high settings can produce oscillation, causing the sound to distort. 


LFO 


LFO Rate 


0-127 


Modulation speed of the LFO 


LFO Osc 1 Pitch Depth 


-63- +63 


Depth to which the LFO will modulate the Osc 1 pitch 


LFO Osc 2 Pitch Depth 


-63- +63 


Depth to which the LFO will modulate the Osc 2 pitch 


LFO Osc 1 Pulse Width 
Depth 


-63- +63 


Depth to which the LFO will modulate the pulse width of the Osc 1 waveform 

* The Pulse Width is activated when "SQR" is selected with Osc 1 waveform. 


LFO Osc 2 Pulse Width 
Depth 


-63- +63 


Depth to which the LFO will modulate the pulse width of the Osc 2 waveform 

* The Pulse Width is activated when "SQR" is selected with Osc 2 waveform. 




70 




JUNO-G_e.book 71 '^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



(^ 



Modifying the Sound in Real Time 



ACTIVE EXPRESSION 

You can use the D Beam to apply the ideal type of expression for 
each sound. 

* The way in which expression is applied will differ for each sound. For 
some sounds, the effect may he difficult to notice. 

1 . Hold down [SHIFT] and press D BEAM [ACTIVE EXPRESS]. 

A screen like the following appears. 



MJJ»=i^**<iHlfc«btJ jiim D Beam Htv Express 



iCRctive Express ioriD" 
Range Min 



Ranse Max 



2. Press [.^] [w] to select the parameter. 

3. Use the VALUE dial or [INC] [DEC] to make the setting. 



Press [F3 (DB ASGN)] to access the D Beam assignment screen, 
or [F5 (DB SYN)] to access the D Beam solo synth screen. 

4. Press [EXIT] to return to the previous screen. 



(MEMO) 

Setting for the Active Expression are saved for system settings. 



Parameter 

Range Min 



Value 

0-127 



Explanation 

Lower limit of the range of the D Beam controller 



Range Max 



0-127 



Upper limit of the range of the D Beam controller 

By setting Range Max below Range Min you can invert the range of change. 



ASSIGNABLE 

You can assign various functions to the D Beam controller and apply 
a wide range of effects to the sound in real time. 

1 . Hold down [SHIFT] and press D BEAM [ASSIGNABLE]. 

A screen like the following appears. 



l iajJ»d=***<iHlfc«btJJ!im D Beam flssisn 



:user flssinable:^— 






Tape 


Iddd^d!^ 


BIWi^U 


Ranse Min 
Ranse Max 




a 

1£7 



■ ■l-TJ51t1g|fDBEXF>'VDB"s™' 



2. Press [.▲] [w] to select the parameter. 

3. Use the VALUE dial or [INC] [DEC] to make the setting. 



Press [F4 (DB EXP)] to access the D Beam active expression 
screen, or [F5 (DB SYN)] to access the D Beam solo synth screen. 

4. Press [EXIT] to return to the previous screen. 



(MEMO) 

The settings for the ASSIGNABLE are saved independently for 
each performance as part of the performance settings. This lets 
you create performances that make effective use of controller 
settings. 

(MEMO) 

If Patch mode is selected, this is saved as part of the system 
settings. If you want to save the settings, press [F6 (WRITE)]. 



Parameter 


Value 


Explanation 


Type 


CCOl-31, 33-95, 


Function controlled by the D Beam controller 




BEND UP, 


CC01-31 , 33-95: Controller numbers 1-31, 33-95 




BEND DOWN, 


BEND UP: Controls the pitch as specified by the "Pitch Bend Range Up" setting (p. 37). 




START/STOP, 


BEND DOWN: Controls the pitch as specified by the "Pitch Bend Range Down" setting (p. 37). 




TAP TEMPO, 


START/STOP: Starts/Stops the song recorder. 




ARP GRID, 


TAP TEMPO: Tap tempo (a tempo specified by the interval at which you move your hand over the D Beam con- 




ARP DURATION, 


troller). 




ARP MOTIF, 


ARP GRID: Arpeggio Grid 




ARP OCTAVE UP, 


ARP DURATION: Duration of each arpeggiated note 




ARP OCTAVE DOWN, 


ARP MOTIF: Arpeggio Motif 




ARP STEP, 


ARP OCTAVE UP: The range in which the arpeggio is sounded will rise in steps of an octave (maximum 3 oc- 




AFTERTOUCH 


taves). 

ARP OCTAVE DOWN: The range in which the arpeggio is sounded will lower in steps of an octave (maximum 3 

octaves). 

ARP STEP: Controls the playback position of the arpeggio pattern. 

AFTERTOUCH: Aftertouch 


Range Min 


0-127 


Lower limit of the range of the D Beam controller 


Range Max 


0-127 


Upper limit of the range of the D Beam controller 

By setting Range Max below Range Min you can invert the range of change. 




71 




JUNO-G_e.book 72 '^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Modifying the Sound in Real Time 



Control Pedal 



You can modify the sound by pressing a pedal tliat is connected to 
the rear panel HOLD PEDAL jack or CONTROL PEDAL jack. 
Pedal such as expression pedals (EV-5; available separately), pedal 
switches (DP series; available separately), or foot switches (BOSS FS- 
5U; available separately) can be connected to the JUNO-G. 



1 . Access the Patch Play screen (p. 25). 

2. While playing the keyboard to produce sound, operate a 
pedal. 

The sound mil change according to the function that is assigned 
to the control pedal. 



Control Pedal Settings 



1 . Press EDIT [MENU]. 

2. Press [^ Iw] to select "2. System," and then press 
[ENTER]. 

The System Menu window appears. 



3. Press [F2 (KBD/CTRL)], and then press [F2 (PDL BND)]. 

A screen like the following appears. 



MjafeiiUftWi 



[New 5on3 



Patch CUniHS SUD GS) HiisTER J = 1£0 4.^4 
USEE: OCT: a TF;«HS:C fl (PNO) fic. P i ano 

00 1 Juno-G Grand 



rSOUND MODIFY lrTl - |gFI - rgFl - |gn - 

n r^r^raia I — the- ■ riia 



System Menu 



l fcllfctJJ!BJ=*Jllg - 



Control Pedal Assign 



Control Pedal Polarity 
Hold Pedal Polarity 
Continuous Hold Pedal 



ifCTRL""^ 



l=Bldd=febiMatfcMII: 



STfiNDREDi 
STfiNDREDi 
OFF; 



|M5IJHJ| 



4. Press [^ [^ to select the parameter. 

5. Use the VALUE dial or [INC] [DEC] to make the setting. 



Parameter 



Value 



Control Pedal 
Polarity 

Hold Pedal Po- 
larity 



Continuous 
Hold Pedal 



Explanation 



Control Pedal CCOl-31, 33-95, Function of the pedal connected to the CONTROL PEDAL jack 

Assign BEND UP, CC01 -31 , 33-95: Controller numbers 1-31, 33-95 

BEND DOWN, BEND UP: Controls the pitch as specified by the "Pitch Bend Range Up" setting (p. 37). 

AFTERTOUCH, BEND DOWN: Controls the pitch as specified by the "Pitch Bend Range Down" setting (p. 37). 

OCT UP, AFTERTOUCH: Aftertouch 

OCT DOWN, OCT UP: Pedal press raises the key range in octave steps (up to 3 octaves higher). 

START/STOP, OCT DOWN: Pedal press lowers the key range in octave steps (up to 3 octaves lower). 

PUNCH IN/OUT, START/STOP: The song recorder will start/stop. 

TAP TEMPO, PUNCH IN/OUT: Manual punch-in/out recording will start/stop. 

PROG UP, TAP TEMPO: Tap tempo (a tempo specified by the interval at which you press the pedal). 

PROG DOWN, PROG UP: The next sound number will be selected. 

FAVORITE UP, PROG DOWN: The previous sound number will be selected. 

FAVORITE DOWN, FAVORITE UP: The favorite patch/performance of the next number or bank will be selected. 

ARP SW, FAVORITE DOWN: The favorite patch/performance of the previous number or bank will be selected. 

RHY START/STOP, ARP SW: Arpeggio/Rhythm function on/off 

CHORD SW, RHY START/STOP: Rhythm pattern playback on/off 

LIVE SET UP, CHORD SW: Switches the Chord Memory function on/off. 

LIVE SET DOWN, LIVE SET UP: Switches to the next step within a Live Setting hst. 

LOOP LIVE SET DOWN: Switches to the previous step within a Live Setting list. 
LOOP: Loop Playback on/off 



STANDARD, 
REVERSE 



Polarity of the pedal 

On some pedals, the electrical signal output by the pedal when it is pressed or released is the opposite of other ped- 
als. If your pedal has an effect opposite of what you expect, set this parameter to "REVERSE." If you are using a 
Roland pedal (that has no polarity switch), set this parameter to "STANDARD." 



OFF, ON 



Determines whether the HOLD PEDAL jack will provide support for half-pedaling (ON), or not (OFF). 

When this is set to "ON," you can then connect an optional damper pedal (DP-10, etc.), and employ pedal work to 
achieve even finer control in performances in which piano tones are used. 



6. If you want to save the settings, press [F6 (WRITE)]. 

7. Press [EXIT] to return to the previous screen. 




72 




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Playing Arpeggios 



About Arpeggio 



The JUNO-G's Arpeggio function lets you produce arpeggios 
automatically; simply hold down some keys, and a corresponding 
arpeggio will be played automatically. 
Not only can you use the factory-set Arpeggio Styles, which 
determine the way the arpeggio is played, but you can also freely 
rewrite Styles and enjoy performing your own original arpeggios. 
An Arpeggio Style is not part of any Patch or Performance, but 
rather independent data; you can store up to 128 Arpeggio Styles. 
Therefore you can use a single Arpeggio Style in different Patches 
and Performances. Arpeggio settings can be saved independently for 
each performance. However, they cannot be saved as part of a patch. 
What's more, you can perform in ensemble using these arpeggios 
and rhythm patterns (p. 79). 



Playing Arpeggios 



Turning Arpeggio On and Off 

1 . Press [ARPEGGIO] to turn it on. 

The button will light. 

* You can make arpeggio settings in this screen. 

* Press [EXIT] to return to the previous screen. 

2. Play a chord on the keyboard. 

The JUNO-G will play an arpeggio, according to the notes 
forming the chord you have just voiced. 

3. To finish playing arpeggios, press [ARPEGGIO] again to 
turn it off. 



(MEMO) 

In arpeggio settings, the Style (Arpeggio Style) (p. 74) is 

particularly important. The playback pattern of the arpeggio is 
determined mainly by this selection. 



Using in Combination vv^ith the Chord 
Memory Function 

When performing with the Arpeggio, you can also use it along 
with the Chord Memory function (p. 77). After first storing 
complex Chord Forms in memory, you can then call them up 
when Arpeggio function is on, and you can easily play complex 
arpeggio sounds just by pressing a single key. 



Determining the Tempo for 
Arpeggio Performances 

This sets the arpeggio tempo. 

1 . Press SONG RECORDER [TEMPO]. 

The current tempo value appears in the display. 



MjafeiiUftWi 



[New 5on3 



Patch CUniHS SUD GS) HiisTER J = 1£0 4.^4 
USEE: OCT: a TF;«HS:C fl (PNO) fic. P i ano 



001 J 



IH 1 E 3 U 



CUT I 



Tempo E9^ 




2. Use the VALUE dial or [INC] [DEC] to set the tempo value 
(5-300), or set the value by tapping [F4 (TAP)] a number of 
times with the same rhythm (Tap Tempo). 

* If you press [F5 (CLICK)] to add a check mark (•), the click will 
sound. 

3. When you have made the setting, press [F6 (CLOSE)]. 



Holding an Arpeggio 



By using the following procedure, you can produce arpeggios even 
without continuing to press the keyboard. 

1 . Press [ARPEGGIO] to turn on the arpeggio. 

The ARPEGGIO STYLE screen appears. 

2. Press [F1 (HOLD)] to add a check mark (•). 

3. Play a chord on the keyboard. 

4. If you play a different chord or notes while the arpeggio is 
being held, the arpeggio will change accordingly. 

5. To cancel Arpeggio Hold, press [F1 (HOLD)] once again. 

When Using a Hold Pedal 

If you play an arpeggio while pressing the hold pedal, the arpeggio 
will continue to be played even if you release the chord. 

1 . Connect an optional pedal switch (DP series etc.) to the 
HOLD PEDAL jack. 

2. Press [ARPEGGIO] to turn on the arpeggio. 

3. Play a chord while pressing the hold pedal. 

4. If you play a different chord or notes while the arpeggio is 
being held, the arpeggio will change accordingly. 

Playing Arpeggios Along v^ith the 
Song Recorder 

When using arpeggios while the song recorder is playing, or when 
you want to record arpeggios into the song recorder in real time, you 
can synchronize the arpeggio with the start/stop timing of the song 
recorder. 

For details, refer to Arp/Rhythm Sync Switch (p. 162). 




73 




JUNO-G_e.book 74'^-y 2006^2^130 ^WH ^ft2a#44-H- 



Playing Arpeggios 



Arpeggio Settings 



1 . Press [ARPEGGIO] so it's lit. Alternatively, hold down [SHIFT] and press [ARPEGGIO]. 

The ARPEGGIO STYLE screen appears. 

* When you hold down [SHIFT] and press [ARPEGGIO], the ARPEGGIO STYLE screen will appear regardless of whether the arpeggio function is on or off. 

2. Press [m.\ [■w\ to select the parameter. 

3. Use the VALUE dial or [INC] [DEC] to make the setting. 



Parameter 



Value 



(Arpeggio Style) 



Grid 



Duration 



Motif 
Velocity 



OctRange 
Accent 



Part 

(Displayed in 
Performance 
mode) 



UOOl-128 (User), 
POOl-128 (Preset) 



1/4, 1/8, 1/8L, 
1/8H, 1/12, 
1/16, 1/16L, 
1/16H, 1/24 



30-120%, Full 



(See p. 75.) 
REAL, 1-127 



-3- +3 
0-100 



Partl-16 



Explanation 



This selects the arpeggio's basic performance Style. 

The arpeggio styles are kept in preset memory and user memory. 



Lhis sets the particular note division and resolution in a "single grid" used in creating the arpeggio in an Arpeggio Style, 
and how much of a "shuffle" syncopation is to be to applied (none/weak/strong) to it (grid type). 

1/4: Quarter note (one grid section = one beat) 

1/8: Eighth note (two grid sections = one beat) 

1/8L: Eighth note shuffle Light (two grid sections = one beat, with a light shuffle) 

1/8H: Eighth note shuffle Heavy (two grid sections = one beat, with a heavy shuffle) 

1/12: Eighth note triplet (three grid sections = one beat) 

1/16: Sixteenth note (four grid sections = one beat) 

1/1 6L: Sixteenth note shuffle Light (four grid sections = one beat, with a light shuffle) 

1/1 6H: Sixteenth note shuffle Heavy (four grid sections = one beat, with a heavy shuffle) 

1/24: Sixteenth note triplet (six grid sections = one beat) 

* Grid settings arc shared with the rhythm pattern. 

This determines whether the sounds are played staccato (short and clipped), or tenuto (fully drawn out). 

30-1 20: For example, when set to "30," the length of the note in a grid (or when a series of grids is connected with ties, 
the final grid) is 30% of the full length of the note set in the grid type. 

Full: Even if the linked grid is not connected with a tie, the same note continues to sound until the point at which the 
next new sound is specified. 

* Duration settings are shared with the rhythm pattern. 

Refer to Selecting Ascending/Descending Variations (Motif) (p. 75). 

Specifies the loudness of the notes that you play. 

REAL: If you want the velocity value of each note to depend on how strongly you play the keyboard, set this parameter 
to REAL. 

1 -1 27: If you want each note to have a fixed velocity regardless of how strongly you play the keyboard, set this param- 
eter to the desired value. 



This adds an effect that shifts arpeggios one cycle at a time in octave units (octave range). 

You can set the shift range upwards or downwards (up to three octaves up or down). 
When you play arpeggios, the velocity of each arpeggiated note is determined by the velocity of the notes programmed 
within the arpeggio style. You can adjust the amount ("spread") of this dynamic variation. 

With a setting of "100," the arpeggiated notes will have the velocities that are programmed by the arpeggio style. With 

a setting of "0," all arpeggiated notes will be sounded at a fixed velocity. 

Here's how to specify the part that will use the arpeggio in Performance mode. You can specify only one part for playing 
arpeggios. 

If a rhythm set is assigned to a part in Performance mode, you can play a rhythm pattern along with the arpeggios. 
* The part you select here functions for both the arpeggio and the chord memory functions. 



4. When you have made the setting, press [EXIT]. 



About Arpeggio Styles 



An Arpeggio Style is a series of data for basic arpeggio patterns and cliord styles 
recorded in the form of a grid consisting of a maximum of 32 steps x 16 pitches. 
Each grid contains one of the following kinds of data. 

• ON: Note On (with Velocity data) 

• TIE: Tie (hold of the previous note) 

• REST: Rest (no sound played) 

The keys that are pressed along with the sequence in which they are pressed is 
referenced to the "lowest-pitched key during input." Thus, you can use a single 
Arpeggio Style in different Patches and Performances at the same time. 
A Arpeggio Style is not part of any patch or Performance, but rather independent data. 



HIGH 




STEP 




74 




JUNO-G_e.book yS'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Playing Arpeggios 



(^ 



Selecting Ascending/Descending 
Variations (Motif) 

This selects the method used to play sounds (motif) when you have a 
greater number of notes than programmed for the Arpeggio Style. 

• When the number of keys played is less than the number of notes in the 
Style, the highest-pitched of the pressed keys is played by default. 

Value: 

Up (L): Only the lowest of the keys pressed is sounded each 

time, and the notes play in order from the lowest of 

the pressed keys. 
Up (L&H): Notes from both the lowest and highest pressed keys 

are sounded each time, and the notes play in order 

from the lowest of the pressed keys. 
Up (_): The notes play in order from the lowest of the 

pressed keys. No one note is played every time. 
Down (L): Only the lowest of the keys pressed is sounded each 

time, and the notes play in order from the highest of 

the pressed keys. 
Down (L&H): Notes from both the lowest and highest pressed keys 

are sounded each time, and the notes play in order 

from the highest of the pressed keys. 
Down (_): The notes play in order from the highest of the 

pressed keys. No note is played every time. 
U/D (L): Notes will be sounded from the lowest to the highest 

key you press and then back down to the lowest key, 

with only the lowest key sounded each time. 
U/D (L&H): Notes from both the lowest and highest pressed keys 

are sounded each time, and the notes play in order 

from the lowest of the pressed keys and then back 

again in the reverse order. 
U/D (_): The notes play in order from the lowest of the 

pressed keys, and then back again in the reverse 

order. No note is played every time. 
Rand (L): Notes will be sounded randomly for the keys you 

press, with only the lowest key sounded each time. 
Rand (_): Only the lowest of the keys pressed is sounded each 

time, the notes you press will be sounded randomly. 

No note wrill sound each time. 
Phrase: Pressing just one key will play a phrase based on the 

pitch of that key. If you press more than one key, the 

key you press last will be used. 
<Example> 

Action of a Style starting from the lowest note, "1-2-3-2" when the 
keys "C-D-E-F-G" are played 

• When "UP (L)" is selected as the motif: 
C-D-E-D -> C-E-F-E -> C-F-G-F (-> repeated) 

• When "UP (_)" is selected as the motif: 
C-D-E-D -> D-E-F-E -> E-F-G-F (-> repeated) 

• When "UP&DOWN (L&H)" is selected as the motif: 
C-D-G-D -> C-E-G-E -> C-F-G-F -> C-E-G-E (-> repeated) 



Creating an Arpeggio Style 
(Arpeggio Style Edit) 



In addition to using the built-in arpeggio styles, you are free to create 
your own. After creating an original arpeggio style, you can store it 
in the internal user memory. 
Broadly speaking, there are two ways to create an arpeggio style. 



Step-recording 



In this method, you use the keyboard to step-record your arpeggio. 
Each time you input a note, you will advance to the next step. This 
method is convenient when you want to create an arpeggio from 
scratch using a Style that contains no data. 



(MEMO) 

If you want to create "from scratch," you'll need to initialize the 
Style. In the ARPEGGIO STYLE EDIT screen, hold down 
[SHIFT] and press [F4 (INIT)]. A message will ask whether you 
want to initialize; press [F6 (EXEC)] to execute initialization. 

1 . Press [ARPEGGIO] so It's lit. Alternatively, hold down 
[SHIFT] and press [ARPEGGIO]. 

• When you hold down [SHIFT] and press [ARPEGGIO], the 
ARPEGGIO STYLE screen will appear regardless of whether the 
arpeggio function is on or off. 

2. Press [F5 (EDIT)]. 

The ARPEGGIO STYLE EDIT screen appears. 

3. Press [F1 (SETUP)]. 

The Arpeggio Setup window appears. 

4. Press [^ to move the cursor to "End Step." 

5. Use the VALUE dial or [INC] [DEC] to specify the number of 
steps for the arpeggio style. 

6. Press [■w] to move the cursor to "Input Velocity." 

7. Use the VALUE dial or [INC] [DEC] to specify the velocity 
setting for the data you will input. 

8. Press [F6 (CLOSE)] to close the Arpeggio Setup window. 

9. Press [F6 (STP REC)] to add a check mark (•). 

Now you're ready to step-record. 

• To move to the desired input location, press [M.] {'W] [^] [^]. 

• To input notes, play the keyboard. 

• To input a tie, press [F2 (TIE)]. 

• To input a rest, press [F3 (REST)]. 

• To erase the note, hold down [SHIFT] and press [F6 (CLR NOTE)]. 

• To erase all notes at the current step, hold down [SHIFT] and 
press [F5 (CLR STEP)]. 

• By pressing [F4 (PREVU)] to add a check mark (•) you can 
listen to the style that you're entering. 




75 




JUNO-G_e.book yS'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Playing Arpeggios 



(memo ) 

A maximum of sixteen note numbers (pitches) can be used in a 
single style. 

1 0. When you have finished, press [F5 (EXIT)]. 

Using the VALUE Dial or [INC] [DEC] 
to Input Values 

In this method, you'll use the cursor to specify the step or pitch that 
you wfant to input, and use the dial or [INC] [DEC] to input values. 
This method is convenient wrhen you want to edit or modify 
previously input data. 

1 . Press [ARPEGGIO] so it's lit. Alternatively, hold down 
[SHIFT] and press [ARPEGGIO]. 

• When you hold down [SHIFT] and press [ARPEGGIO], the 
ARPEGGIO STYLE screen will appear regardless of whether the 
arpeggio function is on or off. 

2. Press [F5 (EDIT)]. 

The ARPEGGIO STYLE EDIT screen appears. 

3. Press [F1 (SETUP)]. 

The Arpeggio Setup window appears. 

4. Press [^ to move the cursor to "End Step." 

5. Use the VALUE dial or [INC] [DEC] to specify the number of 
steps for the arpeggio style. 

6. Press [F6 (CLOSE)] to close the Arpeggio Setup window. 

7. Press [.^] ["wl [^] [^] to specify the step or pitch you want 
to input. 

• Vihen using this method of input, you can use the keyboard to specify 
the pitch of the note. (Unlike when step-recording, pressing the 
keyboard will not actually input the note.) 

8. Input the velocity value, using either the VALUE dial or [INC] 
[DEC]. You can input a tie by turning VALUE all the way to 
the right (or using [INC] to raise the value all the way). 

• You can also input a tie by pressing [F2 (TIE)]. 

• To input a rest, press [F3 (REST)]. 

• By pressing [F4 (PREVU)] to add a check mark (•/) you can 
listen to the style that you're entering. 

(MEMO) 

A maximum of sixteen note numbers (pitches) can be used in a 
single style. 

9. When you have finished, press [F5 (EXIT)]. 



Saving the Styles You Have 
Created (Write) 



The Styles you create are temporary; they are deleted as soon as you 
turn off the power or select some other Style. You can store 128 
arpeggio styles in the User memory. 



Arpeggio style settings are saved as independent data, not 

as part of the data for each patch. The settings in Patch mode, 

it is not possible to save arpeggio parameters (e.g.. Arpeggio 

Style, Grid, Motif, Duration). 

It can be saved to individual in Performance mode. If you 

want to save your settings, press [WRITE] and save the 

performance. 



1 . Create an arpeggio style. 

2. Press [F6 (WRITE)]. 

The ARPEGGIO STYLE NAME screen appears. 

3. Assign a name to the Style. 



For details on assigning names, refer to p. 24. 

4. When you have finished inputting the name, press [F6 (WRITE)]. 

A screen will appear, allowing you to select the write- 
destination Style. 



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U001 A 



5TEP 1x16 



Hrpeggio Write 



^ueei Bas\<i 



ueez Bas I c 2 

uses Basic 3 

uee4 Basic 4 

UBB5 £ Tone UP 



5. Use the VALUE dial, [INC] [DEC], or [.a.] [-▼'] to select the 
write destination. 

6. Press [F6 (WRITE)]. 

A message mil ask you for confirmation. 

7. To save the Style, press [F6 (EXEC)]. 

* To cancel, press ]F5 (CANCEL)]. 

Never switch off the JUNO-G while data is being saved. 




76 




JUNO-G_e.book yZ'^-y 200 6^2^130 ^ms ^ft2B#4 4-H- 




Using the Chord Memory Function 



About the Chord Memory 
Function 



Chord Memory is a function thiat allows you to play chords based on 
pre-programmed Chord Forms, just by pressing a single key on the 
keyboard. The JUNO-G can store 64 preset chord forms and 64 user 
chord forms. If you wish, you can overwrite any of the 64 user 
(factory set) chord forms. 

The chord memory function operates on the arpeggio part in 
Performance mode. If a rhythm set is selected for that part, you can 
also use this to play rhythms. 

dan 

When you use the Chord Memory function with a tone for 
which the Mono/Poly Parameters (p. 37) is Mono, only one 
sound in the chord is played. When using the Chord Memory 
function to turn Poly the Mono/Poly Parameters. 



Using in Combination vs^ith the Arpeggio 
Function 

When performing with the Chord Form function, you can also 
use it along with the Arpeggio function (p. 73). After first 
storing complex Chord Forms in memory, you can then call 
them up when Arpeggio is on, and you can easily create 
complex arpeggio sounds just by pressing a single key. 



Performing v\^ith the Chord 
Memory Function 



Turning Chord Memory Function 
On and Off 

1 . Press [CHORD MEMORY] to turn it on. 

The button will light. The CHORD MEMORY screen appears. 

* In this screen you can select a chord form and make settings for the 
Rolled Chord function. 

* Press [EXIT] to return to the previous screen. 

2. Play the keyboard. 

A chord will sound according to the currently selected chord 

form. 

When you press the C4 key (Middle C), the chord is played 

using the exact chord structure recorded in the Chord Form. 

This is referenced to the C4 key; parallel chords are played by 

pressing other keys. 

3. To finish playing chords, press [CHORD MEMORY] again to 
turn It off. 



Selecting Chord Forms 



Changing the chord form will change the notes in the chord. 

1 . Press [CHORD MEMORY] so it's lit. Alternatively, hold 
down [SHIFT] and press [CHORD MEMORY]. 

The CHORD MEMORY screen appears. 

* When you hold down [SHIFT] and press [CHORD MEMORY], the 
CHORD MEMORY screen will appear regardless of whether the 
arpeggio function is on or off. 

2. Use the VALUE dial or [INC] [DEC] to select a Chord Form 
number. 

U01-64: User 

P01-64: Preset 

The notes of the chord mil be displayed. 

3. When you have finished selecting a Chord Form, press 
[EXIT]. 

Sounding a chord in the order of 
its notes (Rolled Chord) 

This causes the notes within a chord to be sounded consecutively, 
rather than simultaneously. Since the playback speed will change 
according to the force writh which you play the keyboard, you can 
vary your playing dynamics to create a realistic simulation of 
playing a guitar. 

1 . Press [CHORD MEMORY] so it's lit. Alternatively, hold 
down [SHIFT] and press [CHORD MEMORY]. 

The CHORD MEMORY screen appears. 

* When you hold down ]SHIFT] and press [CHORD MEMORY], the 
CHORD MEMORY screen will appear regardless of whether the 
arpeggio function is on or off. 

2. Press [F1 (ROLL)] to add a check mark (•). 

With this setting, the notes of the chord will be sounded 
consecutively when you play the keyboard. 

Changing the order in v^hich notes 
are sounded 

You can change the order in which the notes of a chord are sounded. 

1 . In the CHORD MEMORY screen, use [^ [-w] to move the 
cursor to "Rolled Chord Type." 

2. Use the VALUE dial or [INC] [DEC] to change a value. 

UP: Notes will be sounded in order from bottom 

to top. 
DOWN: Notes will be sounded in order from top to 

bottom. 
ALTERNATE: The order in which the notes are sounded wrill 

change each time you play the keyboard. 




77 




JUNO-G_e.book yS'^-y 200 6^2^130 ^ms ^ft2B#4 4-H- 



Using the Chord Memory Function 



Creating Your Ov\^n Chord 
Forms 



Not only can you use the prepared internal Chord Forms, which 
determine the constituent notes of chords played using the Chord 
Memory function, but you can also freely create and rewrite them as well. 



1. 



2. 
3. 



Press [CHORD MEMORY] so it's lit. Alternatively, hold 
down [SHIFT] and press [CHORD MEMORY]. 

The CHORD MEMORY screen appears. 

When you hold down [SHIFT] and press [CHORD MEMORY], the 
CHORD MEMORY screen will appear regardless of whether the 
arpeggio function is on or off. 

Use the VALUE dial or [INC] [DEC] to select a chord form. 

Press [F5 (EDIT)]. 

A screen like the following appears. 



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r-ff 


00£ 64 (E 4) 
003 60 (C 4) 


1 


A „ ^^ 


S* — * 








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KWWiraw Biraisi^ las^nrasi ^B^si^ ^man^ 



Use the iceyboard to input the chord that you want to play. 

When you press a key, the note will be added in the screen. 

If you input a note by mistake, press [F3 (DELETE)]. You can 

also erase a note you input by pressing the same key. 

If you want to erase all notes, press [F2 (ALL DEL)]. 

You can press [F4 (PREVIEW)] to hear the chord that you are 

inputting. 



5. When you have finished, press [F5 (EXIT)]. 



Saving the Chord Forms You 
Have Created (Write) 



The Chord Forms you create are temporary; they are deleted as soon 
as you turn off the power or select some other Chord Form. If you 
want to keep a Chord Form you have made, save it to the JUNO-G's 
user memory. 



A chord form is not part of any patch or performance, but 
rather independent data. Therefore you can use a single chord 
form in different Patches and Performances. 
In Performance mode you can save these settings 
individually for each performance. These settings cannot be 
saved in a patch. If you wrant to save your settings, press 
[WRITE] and save the performance. 



1 . Create a chord form. 

2. Press [F6 (WRITE)]. 

The CHORD NAME screen appears. 

3. Assign a name to the Chord Form. 



For details on assigning names, refer to p. 24. 

4. When you have finished inputting the name, press [F6 (WRITE)]. 

A screen will appear, allowing you to select the write- 
destination Chord Form. 



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5. Use the VALUE dial, [INC] [DEC], or [.a.] [-▼'] to select the 
write destination. 

6. Press [F6 (WRITE)]. 

A message will ask you for confirmation. 

7. To save the Chord Form, press [F6 (EXEC]. 

* To cancel, press [F5 (CANCEL)]. 

Never switch off the JUNO-G while data is being saved. 




78 




JUNO-G_e.book 79 '^-y 200 6^2^130 ^ms ^ft2B#4 4-H- 




Playing Rhythms 



About Rhythm Patterns 



The JUNO-G contains 256 preset rhythm patterns. You can play a 
variety of rhythm patterns simply by pressing the function buttons 
([F1]-[F6]). In addition to using these built-in rhythm patterns, you 
can also create your own. 



The 256 rhythm patterns are maintained as independent data; 
they are not part of a performance's data. This means that any one 
rhythm pattern can be shared by various rhythm sets or performances. In 
Performance mode, a number by which a rhythm pattern is 
recalled can be stored as one of the performance parameters. 
This number cannot be stored in Patch mode. 



Using Rhythm Groups 



A "group" consists of settings for each of the six buttons, specifying 
the pattern that each function button will play. The rhythm set used 
by that group is also stored as part of the settings. 

* You are free to change how rhythm pattern numbers and rhythm 
sounds are assigned. 



Rhythm group data is not part of a rhythm set or performance; 
the 32 rhythm groups are stored as independent data. This 
means that any one rhythm group can be shared by various 
patches or performances. In addition to using the built-in 
rhythm groups, you can also create your own. 
Rhythm Group settings can be saved independently for each 
performance. However, they cannot be saved as part of a patch. 



Playing Rhythm 



Using the Rhythm Function 

1 . Press [RHYTHM PATTERN]. 

The RHYTHM GROUP screen appears. 



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FDD: 
tot 1-E 
( 1ED) 


tut 1-3 
( lED^ 


FDDU 
FOF 1-11 


FDDS 
FOF 1-5 
UED) 


PDDE 
tot 1-E 
f. 1ED) 


Ehy Par 


-tpeei : SHandardKitil 


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CURRENT PFlTTERN: Paai : POP 1-1 (lEB) 


^K^Tig^MJ^JcMMJ^^MMJ^^MMJ^J^MMJ^J^ 



2. 



Play a function button ([F1 (PAD 1)HF6 (PAD 6)]). 

According to the button you pressed, the assigned rhythm pattern 
will begin playing. The currently playing button will blink. 



(MEMO ) 

The pattern or rhythm tone that is sounded by each button can 
be specified in Rhythm Group Edit (p. 82). 

3. If you press a blinking button, the pattern will stop playing. 



4. Press [EXIT] to close the RHYTHM GROUP screen. 

You can also press [EXIT] to close the RHYTHM GROUP screen 
while a rhythm pattern is playing. In this case, you can press 
[RHYTHM PATTERN] once again to open the RHYTHM 
GROUP screen and press the blinking function button to stop 
the pattern playback. 

* You can also stop the pattern playback by pressing SONG 
RECORDER [STOP]. 

Determining the Tempo for Rhythm 
Pattern Performances 

This sets the Rhythm Pattern tempo. 

1 . Press SONG RECORDER [TEMPO]. 

The current tempo value appears in the display. 



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USER: OCT: a TF;«HS:C fl (PNO) fic. P i ano 



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Tempo E9^ 




2. Use the VALUE dial or [INC] [DEC] to set the tempo value 
(5-300), or set the value by tapping [F4 (TAP)] a number of 
times with the same rhythm (Tap Tempo). 

* If you press [F5 (CLICK)] to add a check mark (•), the click will sound. 

3. When you have made the setting, press [F6 (CLOSE)]. 

Select the Rhythm Group 

1 . Press [RHYTHM PATTERN]. 

The RHYTHM GROUP screen appears. 

2. Use the VALUE dial or [INC] [DEC] to select a Rhythm group 
number. 

This selects the Rhythm group's basic performance Style. 
U01-32: User 
P01-32: Preset 

* When you select the Rhythm group, the most suitable rhythm set is 
assigned to the Rhythm part. (In the screen, this is indicated by 
"RECOMMENDED RHY PATTERN. " 

3. When you have finished selecting a Rhythm group, press [EXIT]. 



Recording the Rhythm Pattern Playback to 
Song Recorder 

In the RHYTHM GROUP screen, record the rhythm pattern to 
Song Recorder. 

In recording standby mode, wrhen you press [PLAY] (or [F6 
(START)]) the current rhythm pattern will start playback at the 
same time, and you can record the rhythm pattern. 



If you want to record the rhythm pattern at the same time 
that it starts playback, set the Count In to Off in the 
recording standby ^window. 




79 




JUNO-G_e.book SO'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



(^ 



Playing Rhythms 



Rhythm Pattern Settings 



1 . Press [RHYTHM PATTERN]. 

2. Hold down [SHIFT] and press [F2 (RHY PTN)]. 

The RHYTHM PATTERN screen appears. 

3. Press [^ [^ to select the parameter. 

4. Use the VALUE dial or [INC] [DEC] to make the setting. 

* You can audition the rhythm pattern by pressing [F4 (PREVU)] to add a check mark (•). 



Parameter 


Value 


Explanation 


(Rhythm Pattern) 


UOOl-256 (User), 
POOl-256 (Preset) 


This selects the rhythm's basic performance Style. 


Grid 


1/4,1/8,1/8L,1/ 
8H, 1/12, 
1/16, 1/16L, 
1/16H, 1/24 


This sets the particular note division and resolution in a "single grid" used in creating the pattern in an Rhythm Pat- 
tern, and how much of a "shuffle" syncopation is to be to applied (none/weak/strong) to it (grid type). 

1/4: Quarter note (one grid section = one beat) 

1/8: Eighth note (two grid sections = one beat) 

1/8L: Eighth note shuffle Light (two grid sections = one beat, with a hght shuffle) 

1/8H: Eighth note shuffle Heavy (two grid sections = one beat, with a heavy shuffle) 

1/12: Eighth note triplet (three grid sections = one beat) 

1/16: Sixteenth note (four grid sections = one beat) 

1/1 6L: Sixteenth note shuffle Light (four grid sections = one beat, with a light shuffle) 

1/16H: Sixteenth note shuffle Heavy (four grid sections = one beat, with a heavy shuffle) 

1/24: Sixteenth note triplet (six grid sections = one beat) 
* Grid settings are shared with the arpeggio. 


Duration 


30-120%, Full 


This determines whether the sounds are played staccato (short and clipped), or tenuto (fully drawn out). 

30-1 20: For example, when set to "30," the length of the note in a grid (or when a series of grids is connected with 
ties, the final grid) is 30% of the full length of the note set in the grid type. 

Full: Even if the linked grid is not connected with a tie, the same note continues to sound until the point at which 
the next new sound is specified. 

* Duration settings are shared with the arpeggio. 

* This has no effect if the Tone Env Mode parameter (p. 52) is set to "NO-SUS." 


Velocity 


1-127 


Specifies the loudness of the rhythm pattern. 


Accent 


0-100 


When you play rhythm patterns, the velocity of each note is determined by the velocity of the notes programmed with- 
in the rhythm pattern. You can adjust the amount ("spread") of this dynamic variation. 

With a setting of "100," the notes will have the velocities that are programmed by the rhythm pattern. With a setting 

of "0," all notes will be sounded at a fixed velocity. 




80 




JUNO-G_e.book 81 '^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Playing Rhythms 



(^ 



Creating a Rhythm Pattern 
(Rhythm Pattern Edit) 



In addition to using the built-in Rhythm Patterns, you are free to 
create your own. After creating an original Rhythm Pattern, you can 
store it in the internal user memory. 
Broadly speaking, there are two ways to create a Rhythm Pattern. 



Step-recording 



In this method, you use the keyboard to step-record your Rhythm 
Pattern. Each time you input a note, you will advance to the next 
step. This method is convenient when you wrant to create a Rhythm 
Pattern from scratch using a Pattern that contains no data. 



(MEMO) 

If you want to create "from scratch," you'll need to initialize the 
Pattern. In the RHYTHM PATTERN EDIT screen, hold down 
[SHIFT] and press [E4 (INIT)]. A message will ask whether you 
want to initialize; press [F6 (EXEC)] to execute initialization. 

1 . Press [RHYTHM PATTERN]. 

2. Hold down [SHIFT] and press [F2 (RHY PTN)]. 

3. Press [F5 (PTN EDIT)]. 

The RHYTHM PATTERN EDIT screen appears. 

4. Press [F1 (SETUP)]. 

The Rhythm Setup window appears. 

5. Press [^ to move the cursor to "End Step." 

6. Use the VALUE dial or [INC] [DEC] to specify the number of 
steps for the Rhythm Pattern. 

7. Press [^ to move the cursor to "Input Velocity." 

8. Use the VALUE dial or [INC] [DEC] to specify the velocity 
setting for the data you will input. 

The data will be input with the specified velocity. 

9. Press [F6 (CLOSE)] to close the Rhythm Setup window. 

1 0. Press [F6 (STP REC)] to add a check mark (•). 

Now you're ready to step-record. 

• To move to the desired input location, press [^] [^] [^] [^]. 

• To input notes, play the keyboard. 

• To input a tie, press [F2 (TIE)]. 

• To input a rest, press [F3 (REST)]. 

• To erase the note, hold down [SHIFT] and press [F6 (CLR NOTE)]. 

• To erase all notes at the current step, hold down [SHIFT] and 
press [F5 (CLR STEP)[. 

• By pressing [F4 (PREVU)] to add a check mark (i^) you can 
listen to the pattern you've input. 



(MEMO) 

A maximum of sixteen note numbers (pitches) can be used in a 
single pattern. 

1 1 . When you have finished, press [F5 (EXIT)]. 



Using the VALUE Dial or [INC] [DEC] 
to input Values 

In this method, you'll use the cursor to specify the step or pitch that 
you want to input, and use the dial or [INC] [DEC] to input values. 
This method is convenient when you want to edit or modify 
previously input data. 

1 . Press [RHYTHIVI PATTERN]. 

2. Hold down [SHIFT] and press [F2 (RHY PTN)]. 

3. Press [F5 (PTN EDIT)]. 

The RHYTHM PATTERN EDIT screen appears. 

4. Press [F1 (SETUP)]. 

The Rhythm Setup window^ appears. 

5. Press [^ to move the cursor to "End Step." 

6. Use the VALUE dial or [INC] [DEC] to specify the number of 
steps for the Rhythm Pattern. 

7. Press [F6 (CLOSE)] to close the Rhythm Setup window. 



8. 



9. 



Press [^ [-w] [^1 [^] to specify the step or pitch you want 
to input. 

When using this method of input, you can use the keyboard to specify 
the pitch of the note. (Unlike when step-recording, pressing the 
keyboard will not actually input the note.) 

Input the velocity value, using either the VALUE dial or [INC] 
[DEC]. You can input a tie by turning VALUE all the way to 
the right (or using [INC] to raise the value all the way). 

You can also input a tie by pressing [F2 (TIE)]. 

To input a rest, press [F3 (REST)]. 

By pressing [F4 (PREVU)] to add a check mark (^) you can 

listen to the pattern you've input. 



(MEMO) 

A maximum of sixteen note numbers (pitches) can be used in a 
single pattern. 

1 0. When you have finished, press [F5 (EXIT)]. 



Saving the Rhythm Pattern 
You Have Created (Write) 



The Rhythm Patterns you create are temporary; they are deleted as 
soon as you turn off the power or select some other Pattern. You can 
store 32 Rhythm Groups in the User memory. 



Rhythm pattern settings are saved as independent data, 

not as part of the data for each patch. The settings in Patch 

mode, it is not possible to save rhythm pattern parameters (e.g.. 

Rhythm Pattern, Grid, Duration). 

It can be saved to individual in Performance mode. If you 

want to save your settings, press [WRITE] and save the 

performance. 




81 




JUNO-G_e.book 82 '^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Playing Rhythms 



1 . Create a rhythm pattern. 

2. Press [F6 (WRITE)]. 

The RHYTHM PATTERN NAME screen appears. 

3. Assign a name to the Rhythm Pattern. 

For details on assigning names, refer to p. 24. 

4. When you have finished inputting the name, press [F6 (WRITE)]. 

A screen will appear, allowing you to select the write- 
destination pattern. 



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5. Use the VALUE dial, [INC] [DEC], or [.a.] [▼'] to select the 
write destination. 

6. Press [F6 (WRITE)]. 

A message will ask you for confirmation. 

7. To save the Rhythm Pattern, press [F6 (EXEC)]. 

* To cancel, press [F5 (CANCEL)]. 

csm 

Never switch off the JUNO-G while data is heing saved. 



Creating a Rhythm Group 
(Rhythm Group Edit) 



Not only can you use the prepared internal Rhythm Groups that 
determine how rhythm are played, but you can also create them as well. 
This way, you can enjoy performing your own original rhythm group. 

1 . Press [RHYTHM PATTERN]. 

The RHYTHM GROUP screen appears. 

2. Use the VALUE dial or [INC] [DEC] to select a rhythm group 
you want to edit. 

3. Hold down [SHIFT] and press [F5 (GRP EDIT)]. 

The RHY GRP EDIT screen appears. 

4. Press [^ [-w] to select the parameter. 



5. Use the VALUE dia 


or [INC] [DEC] to set the value. 


Parameter 


Value 


Explanation 


Current 
Pad Num- 
ber 


1-6 


Select the function button for which you want 

to make settings. 

You can also choose the button that you 
want to set by pressing that button. 


Ptn 


UOOl-256, 
POOl-256 


Specifies the pattern number that will sound 
when you press the function button. 



Parameter 


Value 


Explanation 


Rhy 


USER: 

001-032 

PRST: 

001-036 

GM: 

001-009 

CARD: 

001-032 

EXP: 

001- 


Specifies which rhythm set will be used. 



6. When you have finished, press [F5 (EXIT)]. 



Saving the Rhythm Group 
You Have Created (Write) 



The I?hythm Groups you create are temporary; they are deleted as 
soon as you turn off the power or select some other Group. You can 
store 32 Rhythm Groups in the User memory. 



Rhythm group settings are saved as independent data, not 
as part of the data for each patch. The settings in Patch mode, 
it is not possible to save rhythm group settings. 
It can be saved to individual in Performance mode. If you 

want to save your settings, press [WRITE] and save the 
performance. 

1 . Create a rhythm group. 



2. Press [F6 (WRITE)]. 

The RHYTHM GROUP NAME screen appears. 

3. Assign a name to the Rhythm Group. 



For details on assigning names, refer to p. 24. 

4. When you have finished inputting the name, press [F6 (WRITE)]. 

A screen will appear, allowing you to select the write- 
destination group. 




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5. Use the VALUE dial, [INC] [DEC], or [.a.] [-▼'] to select the 
write destination. 

6. Press [F6 (WRITE)]. 

A message will ask you for confirmation. 

7. To save the Rhythm Group, press [F6 (EXEC)]. 

* To cancel, press [F5 (CANCEL)]. 

Never switch off the JUNO-G while data is being saved. 




82 




JUNO-G_e.book SS'^-y 200 6^2^130 ^BH ^ft2B#4 4-H- 




Creating a List of Frequently Used Patches, 
Performances^, or Songs (Live Setting) 



You can create a list of frequently used sounds, and recall them 
instantly. Since you can register Patches, Rhythm Sets, Performances, 
or Songs any type of sound you need can he recalled instantly 
regardless of the mode. 

Each list (bank) can store a total of twelve patches, rhythm sets, 
performances, and songs. You can create twenty of these banks. 
For example, you might use bank 1 to list up to twelve sounds that 
you use in the first song of your live set. 



Recalling Sounds 



1 . Press MODE [LIVE SETTING]. 

The LIVE SETTING screen appears. 



M»illl=»d=***<ibt ma^j song- 



HnnnBaaD CSS MASTER j=i£a 4.^4 

p«^USER:O01 Juno-G Grand 



Bank £ 
Bank 3 
Bank 4 




Patch: 
U5EE:aai Juno-Q Qrancd 



2. Use [^[-^] to switch banks (1-20). 

3. Press [F1 (1)HF6 (6)] to select the number that you want to 
recall. 

To select 7-12, hold down [SHIFT] and press [Fl (7)]-[F6 (12)]. 

* The sound name or the song file name will he the function display for 
the numbers you register. 



You can also use [INC] [DEC] to successively recall the next 
number in the bank. 



You can also use [^] [^] to select numbers within the bank. In 
this case, the sound will not change until you press [ENTER]. 



Registering a Sound 



1 . Access the screen of the patch, rhythm set, or performance 
that you want to register. 

2. Hold down [SHIFT] and press MODE [LIVE SETTING]. 

The LIVE SET EDIT screen appears. 



M»illl=»d=*JJJt*ma^j song- 



HnnnBaaD CSS MASTER j=i£a 4.^4 

p«^USER:O01 Juno-G Grand 



Bank £ 
Bank 3 
Bank 4 




Patch: 
U5EE:aei Juno-Q Qrancd 



* You can also access this screen by pressing EDIT [MENU] and 
choosing "5. Live Setting Edit" in the Top Menu window. 

3. Use [F1 (BANK UP)] [F2 (BANK DOWN)] ([▲] [■w]) to select 
the bank in which you want to register the sound. 

4. Use [^] [^] to select the number in which to register the 
sound. 

You can register the sound in any of the twelve numbers. 



Register the sounds in an order that's appropriate for your song 
or live performance. 

5. Press [F6 (REGIST)] to register the sound. 

For example, if you register the sound in Bank 1, number 02, the 
display will indicate "Regist to 1-02." 

* Press [EXIT] if you decide to cancel. 



Registering a Song 



1 . Hold down [SHIFT] and press MODE [LIVE SETTING]. 

The LIVE SET EDIT screen appears. 

* You can also access this screen by pressing EDIT [MENU] and 
choosing "5. Live Setting Edit" in the Top Menu window. 

2. Use [F1 (BANK UP)] [F2 (BANK DOWN)] ([▲] [-w]) to select 
the bank in which you want to register the song. 

3. Use [^] [^] to select the number in which to register the 
song. 

You can register the song in any of the twelve numbers. 
Register the songs in an order that's appropriate for your song 
or live performance. 

4. Press [F3 (SET SONG)]. 

5. Press [Fl (USER)] (user memory) or [F2 (CARD)] (memory 
card) to select the registration destination. 

6. Use the VALUE dial or [INC] [DEC] to move the cursor to the 
song you want to register, and press [F6 (SELECT)]. 

* Press [EXIT] if you decide to cancel. 



Removing a Registration 



1 . In the LIVE SET EDIT screen, use [^] [^] to move the cursor 
to the number that you want to remove. 

2. Press [F4 (REMOVE NUMBER)]. 

For example, if you remove the registration for Bank 1, number 
02, the display will indicate "Remove 1-02," and that number 
becomes empty. 



Removing all Registrations 
from a Bank 



1 . In the LIVE SET EDIT screen, use [F1 (BANK UP)] [F2 (BANK 
DOWN)] ([.^] ["w]) to move the cursor to the bank for which 
you want to clear the registrations. 

2. Press [F5 (REMOVE BANK)]. 

If you clear the entire contents of Bank 1, the display will 
indicate "Remove Bank 1," and that bank is made empty. 




83 




JUNO-G_e.book 84'^-y 2006^2^130 ^ms ^ft2B#44-H- 




Playing Back a Song 



This chapter explains how you can use the JUNO-G's song recorder 
to play back a song. 



(MEMO) 

When you play back a song, we recommend that you use the 
sound generator in Performance mode. In Performance mode, 
up to sixteen different sounds can be played separately by the 
sixteen parts, making this mode ideal for playing songs that are 
multi-instrument ensembles of drums, bass, piano, etc. 



With the factory settings, demo song data will automatically be 
loaded into Temporary Area when the JUNO-G is powered up. 
Here's how to change this setting so that this automatic load 
does not occur (i.e., the song memory will remain empty). 



Press [MENU]. 

Press [.▲] [-w] to select "2. System," and then press 

[ENTER]. 

Press [F1 (GENERAL)], and then press [F2 (AUTO LD)] 

to select "Startup." 

Press [.▲] [w] to select "Load Demo Song at Startup." 

Use the VALUE dial or [INC] [DEC] to set it to "OFF." 

Press [F6 (WRITE)] to save the setting. 



Loading and Playing a Song 
(Load Play) 



The JUNO-G can load a song from user memory or a memory card 
into the temporary area, and play it. 

The Temporary Song will be lost if you turn power off or load 
another song into Temporary Area. If Temporary Area contains 
a song you wish to keep, you must save that song to user 
memory or memory card (p. 113). 

1 . Press EDIT [SONG] to access the SONG LIST screen. 

* Pressing [SONG] toggles you between the SONG LIST screen and 
MIDI TRACK screen. 



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• By pressing [^] [^] in the above screen, you can specify the type of 
songs that will be displayed. If various types of songs are saved 
together, it will be easier to find the desired song if you restrict the 
displayed file types in this way. 

ALL: all songs will be displayed 

SVQ: Only the SVQ song files are displayed 

SMF: only Standard MIDI Files will be displayed 

2. Use the VALUE dial or [INC] [DEC] to select the song. 

• [F1 (USER)]: Songs in user memory 

• [F2 (CARD)]: Songs on a memory card 

3. Press [F6 (LOAD)]. 

A Message will ask you for confirmation. 



4. Press [F6 (EXEC)]. 

When the song has finished loading, the performance data of 
the loaded song will be displayed in the MIDI TRACK screen. 

* You can also load a song by holding down [SHIFT] and pressing 
]WRITE](p. 115). 

5. Press SONG RECORDER [PLAY] to start playback. 

When the song finishes playing, it will stop automatically. If you 
want to stop playback midway through the song, press [STOP]. 



(MEMO) 

If you play back the song while the MIDI TRACK screen is 
displayed, the screen will scroll in keeping with the song 
playback location. 

There will be no sound if samples have not been loaded for the 
patches used in the song. You must load the necessary samples 
beforehand (p. 115). 



Playing MIDI Tracks 
immediately (Quick Play) 



The JUNO-G can immediately play the MIDI tracks of SMF data 
without loading the song into the temporary area (Quick Play). 
This lets you verify the contents of a song before loading it into the 
temporary area. 

CEm 

Quick Play does not play back the audio tracks. If you want to 
play the audio tracks, you must load the song into the 
temporary area. 

1 . Press EDIT [SONG] to access the SONG LIST screen. 

* This button is pressed to toggle between the SONG LIST screen and 
the MIDI TRACK screen. 

* By pressing [^[ [^] in the above screen, you can specify the type of 
songs that will be displayed. If various types of songs are saved 
together, it will be easier to find the desired song if you restrict the 
displayed file types in this way. 

ALL: all songs will be displayed 

SVQ: Only the SVQ song files are displayed 

SMF: only Standard MIDI Files will be displayed 

2. Use the VALUE dial or [INC] [DEC] to select the song. 

* [F1 (USER)]: Songs in user memory 

* [F2 (CARD)]: Songs on a memory card 

3. Press SONG RECORDER [PLAY] to start playback. 

When the song finishes playing, it will stop automatically. If you 
want to stop playback midway through the song, press [STOP]. 

* If you want to return to the song in the temporary area, press EDIT 
]SONG] to access the MIDI TRACK screen, and then press ]F5 (TMP 
SONG)]. 



There will be no sound if samples have not been loaded for the 
patches used in the song. You must load the necessary samples 
beforehand (p. 115). 




84 




JUNO-G_e.book SS'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Playing Back a Song 



(^ 



Various Playback Methods 



Fast-Fonvard and Re^vind During 
Playback 

Fast-forward, rewind, and jump can be performed during playback, 

as well as while stopped. Use the following procedures for each 

operation. 

Fast-forward: Press [FWD]. 

Continuous fast-forward: Press and hold [FWD]. 

Rapid fast-forward: Hold down [FWD] and press [BWD]. 

Rewind: Press [BWD]. 

Continuous rewind: Press and hold [BWD]. 

Rapid rewind: Hold down [BWD] and press [FWD]. 

Jump to tlie preceding marl<er location: 

Hold down [SHIFT] and press [BWD]. 
Jump to the following marker location: 

Hold down [SHIFT] and press [FWD]. 
Jump to the beginning of the song: 

Hold down [STOP] and press [BWD]. 

* Song playback will be interrupted if you jump to the beginning or end 
of the song while the song is playing. 

* A certain amount of time may he required for fast-forward, rewind, or 
jump during Quick Flay. 

* You can't jump to a marker location when using Quick Play. 

Playing Back vs^ith a Specific 
instrument Muted (MIDI Track Mute) 

If you want to silence the playback of a specific instrument, you can 
mute the part that contains the sequencer data for that instrument. 

1 . Press EDIT [SONG] to access the MIDI TRACK screen. 

2. Press [F4 (MUTE)]. 



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AUDIO Track s j Tempo g] 



3. Use [^ ['wl [^] [^] to move the cursor to the part (MIDI 
track) whose performance you want to mute. 

4. Use the VALUE dial or [DEC] to clear the check mark (•). 

• You can press [F5 (ALL MUTE)] to mute all of the MIDI track 
parts. 

• You can press [F6 (ALL PLAY)] to clear muting for all of the 
MIDI track parts. 



(MEMO) 

You can press [PART SELECT] so it's lit, and then press PART 
SELECT [l]-[8] to mute the part for the selected MIDI track. 



To mute a MIDI track part 9-16, press [9-16] so it's lit, then press 
PART SELECT [9H16]. 



con 

If a MIDI track is muted when you save the song in Standard 
MIDI File format, the data of that track will not be saved in the 
file. If you save the song as a song file (SVQ file, SVA file), the 
muted status of each track will be preserved in the file. 



If you clear the check mark (t^) for system exclusive messages 
(SysEx), system exclusive messages will be ignored. 



If you clear the tempo track (Tempo) check mark (•), the tempo 
track will be muted. You can mute the tempo track if you want 
a song containing recorded tempo changes to play back at a 
fixed tempo. 

5. When you have finished making settings, press [EXIT]. 

Playing Back vs^ith an Audio Track 
Muted (Audio Track Mute) 

If you want to play back a song with a specific audio track muted, 
you can mute the audio track that plays that audio data. 

1 . Press SONG RECORDER [AUDIO TRACK] to access the 
AUDIO TRACK screen. 

2. Press [F4 (MUTE)]. 

3. Press [F1 (TRACK 1 )]-[F4 (TRACK 4)]. 

The corresponding audio track will be muted, and the function 
display color will be inverted. The function display for 
unmuted tracks will remain black. 

4. When you have finished making settings, press [EXIT]. 

Playing a Song Back at a Fixed 
Tempo (Muting the Tempo Track) 

If the tempo changes while a song is being played back, this is 
because those tempo changes have been recorded in the Tempo 
track. If you want to override these tempo changes and play back at 
a fixed tempo, you can mute the Tempo track. 

SfZ> 

For details on operations, refer to "Playing Back with a Specific 
Instrument Muted (MIDI Track Mute)." 




85 




JUNO-G_e.book SG'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Playing Back a Song 



Changing the Playback Tempo of a 
Song 

The tempo at which a song will play back is recorded on its tempo 
track, but the tempo of the entire song can be adjusted during 
playback. The tempo at which the song actually plays is called the 
playback tempo. 

* The playback tempo is a temporary setting. It will be lost if you switch 
to another song or turn off the power. If you want the song to always 
play back at this tempo, you must re-save the song (p. 113). 



(MEMO ) 

When you change the tempo, audio tracks will be time- 
stretched (the sample length and tempo will change) so that 
they remain in synchronization with the MIDI tracks. 

1 . Press SONG RECORDER [TEMPO]. 

The Tempo window appears. 

2. Use the VALUE dial or [INC] [DEC] to set the playback tempo. 

• If you press [F5 (CLICK)] to add a check mark (v^), a click •will 
sound at the specified tempo. 

• By pressing [F4 (TAP)] you can set the tempo to the timing at 
which you press the button (Tap Tempo). Press the button three 
or more times at quarter-note intervals of the desired tempo. 

3. When you have finished making settings, press [F6 (CLOSE)]. 

csm 

The audio quality may be degraded if the audio tracks have been 
time-stretched because of a change in tempo. If so, we recommend 
that you limit the tempo change to an appropriate range. 

Playing Back a Song Repeatedly 
(Loop Play) 

Use the Loop function when you want to repeatedly play back an 
entire song or just a specified portion of a song. 

1 . Press SONG RECORDER [LOOP] to make it light. 

The Loop Play window appears. Now playback will loop 
according to the region and the number of times specified in the 
Loop Play wrindow. 

• To defeat the Loop function, press [LOOP] once again. 

For details on making settings in the Loop window, refer to 
Specifying the Area of a Song that will Repeat (Loop 
Points) (p. 95). 

2. When you have finished making settings, press [F6 (CLOSE)]. 



Using the D Beam Controller to 
Start/Stop Song Playback 

You can start/stop song playback by passing your hand over the D 
Beam controller. 

1 . Select the song that you want to play back. 

2. Hold down [SHIFT] and press D BEAIVI [ASSIGNABLE]. 

A screen like the following appears. 



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Range Min 
Range Max 



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3. Use [^] [■w] to move the cursor to "Type." 

4. Use the VALUE dial or [INC] [DEC] to set this to "START/ 
STOP." 

5. Press [EXIT] to return to the previous screen. 

6. Press D BEAIVI [ASSIGNABLE] to turn on the D Beam 
controller. 

7. When you pass your hand across the D Beam controller, 
song playback will start. When you pass your hand across 
It once again, playback will stop. 

* You can also start/stop song playback by using a pedal connected to 
the PEDAL CONTROL jack (p. 72). 

csm 

D Beam controller settings are stored in the song. If you want to 
save your settings, save the song. 

Playing Back Correctly from the 
Middle of the Song (MIDI Update) 

When you play back from the middle of a song, for example after 
fast-forward or rewind, the correct patch may not be selected, or the 
pitch may be incorrect. This is because the MIDI messages in the area 
that you skipped have not been transmitted to the sound generator. 
In such cases, you can use the IVIIDI Update function. When you 
perform MIDI Update, the MIDI messages (other than Note 
messages) from the beginning of the song until the location to which 
you moved will be transmitted to the sound generator, ensuring that 
the sound generator will be in the correct state for the resumption of 
playback. 

1 . IVIake sure that song playback is stopped. 

* It is not possible to perform MIDI Update while the song is playing. 

2. Hold down [SHIFT] and press SONG RECORDER [PLAY]. 

The display will indicate "MIDI Update..." while processing 
takes place, and when finished, will indicate "MIDI Update 
Completed!" 




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JUNO-G_e.book SZ'^-y 200 6^2^130 ^ms ^ft2B#4 4-H- 




Recording a Song (MIDI Track) 



This chapter explains the procedure for using the JUNO-G's song 
recorder to record a song. 



Before you hegin this procedure, put the sound generator in 
Performance mode. Normally, when recording or playing 
back a song, you will put the sound generator in Performance 
mode. The reason for this is that in this mode, only the sound of 
the specified MIDI channel will be heard when you record 
while playing the keyboard of the JUNO-G, and that when the 
song is played back, the parts can independently play up to 16 
different sounds. Thus, Performance mode is suitable for 
recording and playing back a song that uses an ensemble of 
multiple instruments, such as drums, bass, and piano. In 
Performance mode, we recommend that you leave the keyboard 
switches (p. 60) turned off (unchecked). If any keyboard 
switches are on (checked), parts other than the current part will 
also sound when you play the keyboard; you probably don't 
want this to occur while you're creating a song. 

J^f/o Recording Methods 

You can use one of two methods of recording: realtime recording or 
Step recording. Select the method that is appropriate for your situation. 

Realtime Recording (p. 88) 

Realtime recording is the recording method in which your keyboard 
playing and controller operations are recorded just as you perform them. 



Step Recording (p. 92) 



Step recording is the recording method in which you can input notes 
and rests one by one. This method is suitable for inputting drums or 
bass with precise timing. 



Before You Record a Nev\^ 
MIDI Track 



OvervievN^ of the Recording Process 

The work flow for recording a new song (MIDI tracks) is as follows. 

1 . Select the sound to be used for recording 

2. Clear the Temporary Song 

3. Specify the time signature of the song (p. 88) 

4. Set the tempo (p. 88) 

5. Use realtime recording (p. 88) or step recording (p. 92) to 
record 

6. Use track edit (p. 97) or micro edit (p. 99) to edit the song 

7. Save the song to user memory or memory card (p. 113) 



With the factory settings, demo song data will automatically be 
loaded into Temporary Area when the JUNO-G is powered up. 
Here's how to change this setting so that this automatic load 
does not occur (i.e., the song memory will remain empty). 

1 . Press MODE [PERFORIVI] to access the PERFORM 
PLAY screen. 

2. Press [MENU]. 

3. Press [.▲] [-w] to select "2. System," and then press 
[ENTER]. 

4. Press [F1 (GENERAL)], and then press [F2 (AUTO LD)] 
to select "Startup." 

5. Press [^ Iw] to select "Load Demo Song at Startup." 

6. Use the VALUE dial or [INC] [DEC] to set it to "OFF." 



Select the Sound to be Used for 
Recording 

Before you record a song (MIDI tracks), select the sound that you 
want to use for recording. Select the recording method that is 
appropriate for your situation. 

Performance 

Select a Performance when you want to record an ensemble 
performance using multiple instruments. When recording a song, we 
recommend that you normally select a Performance. 

Patch/Rhythm set 

Select a patch or rhythm set if you want to use a single patch or 
rhythm set to record your playing. 

Erasing the Song from Temporary 
Song (Song Clear) 



When you record a song (MIDI tracks), the sequencer data is 
temporarily recorded in Temporary Area. If you want to record a 
nev/ song, you must erase any existing sequencer data from 
Temporary Song. 

csm 

If Temporary Song contains an important song that you want to 
keep, you should first save that song to user memory/memory 
card (p. 113). 

1 . Press EDIT [SONG] to access the MIDI TRACK screen. 

2. Hold down [SHIFT] and press [F6 (UTILITY)]. 

The Song Utility Menu appears. 

3. Press [F2 (SONG CLEAR)]. 

A message will ask you for confirmation. 

4. Press [F6 (EXEC)] to execute the operation. 

* To cancel, press [F5 (CANCEL)]. 

When the operation has been completed, the display will briefly 
indicate "Completed!" 




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Recording a Song (MIDI Track) 



Specifying the Time Signature 

Before you record a new song, you must specify the time signature. 
However, a time signature of 4/4 is automatically specified when 
you perform the Song Initialize operation or when the power is 
turned on, so you will need to make this setting only if you want to 
record a new song in a different time signature. 

1 . Press EDIT [SONG] to access the MIDI TRACK screen. 

2. Press [F3 (MICRO)]. 

The MICROSCOPE screen appears. 

3. Press [F5 (CH/PART)]. 

The Ch/Part Select window appears. 

4. Press [F5 (BEAT)] (beat track). 

5. Press [F6 (CLOSE)]. 

The MICROSCOPE screen for the BEAT track appears. 

6. Press [^] [^] to move the cursor to "Beat Change 
Numerator" or "Beat Change Denominator." 

7. Use the VALUE dial or [INC] [DEC] to specify the time 
signature. 

If you want to change time signatures midway through the 
song, refer to Changing the Time Signature Midway Through 
the Song (p. 103). 

8. Press [EXIT] to return to the previous screen. 



Setting the Tempo 



Set the tempo at which the song is to be recorded. 

1 . Press [TEMPO]. 

The Tempo window appears. 

2. Use the VALUE dial or [INC] [DEC] to set the playback 
tempo. 

• If you press [F5 (CLICK)] to add a check mark (^), a click will 
sound at the specified tempo. This will switch on/off each time 
you press the button. 

• By pressing [F4 (TAP)] you can set the tempo to the timing at 
which you press the button (Tap Tempo). Press the button three 
or more times at quarter-note intervals of the desired tempo. 

3. When you have finished making settings, press [F6 (CLOSE)]. 

If you want to change tempo midway through the song, refer to 
Changing the Tempo Midway Through the Song (p. 102). 



Recording Your Performance as 
You Play It (Realtime Recording) 



Realtime Recording is the recording method in which your keyboard 
playing and controller operations are recorded just as you perform 
them. Use this recording method when you want to capture the 
nuances of your own performance. 

Basic Operation for Realtime Recording 

1 . Make sure that the preparations for recording have been 
completed as described in "Before You Record a New MIDI 
Track" (p. 87). 



(MEMO) 

If you want to record into an existing song, load the desired 
song into Temporary Song (p. 115). Then press SONG 
RECORDER [BWD] or [FWD] to specify the measure at which 
you want to begin recording. The measure at which recording 
will begin is indicated by the "M=" in the upper right of each 
PLAY screen. 

2. Press SONG RECORDER [REC]. 

The [REC] indicator will blink, and the MIDI Rec Standby (Real 
Time) window appears. 



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OS) 



Rec Mode 



Count In 
Tempo Eec 5w 
Loop/puncn 
5tart Po i nt 
End Po i nt 



MEflS 
OFF 
OFF 



. As basic settings, specify the following two parameters. 
Use [^ [-w] [^] [^] to move the cursor to each parameter, 
and use the VALUE dial or [INC] [DEC] to make the setting. 

Parameter Explanation 



Rec Mode 



Select how recording is to take place. 
MIX: 

Mix-recording will be carried out. Normally, you will record 
using this method. If a performance has already been record- 
ed on the recording-destination track, your newly recorded 
performance will be added to the existing performance with- 
out erasing it. By using this in conjunction with Loop-record- 
ing, you can record repeatedly over a specified area without 
erasing the previously recorded performance. For example, 
this is a convenient way to record a drum performance one 
instrument at a time; bass drum -> snare drum -> hi-hat, etc. 
REPLACE: 

Replace-recording will be carried out. If a performance has 
already been recorded on the recording-destination track, it 
will be erased as you record your new performance. Use this 
when you want to re-record. 
* Since system exclusive messages are not erased, you'll need 
to erase this data beforehand (p. 100). 




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Recording a Song (MIDI Track) 



Parameter Explanation 



Count In 



Select how recording is to begin. 

OFF: 

Recording will begin immediately when you press [PLAY]. 

1 MEAS: 

When you press [PLAY], a count (playback) will begin one 
measure before the recording-start location, and recording 
will begin when you reach the recording-start location. 

2 MEAS: 

When you press [PLAY[, a count (playback) will begin two 
measures before the recording-start location, and recording 
will begin when you reach the recording-start location. 
WAIT NOTE: 

Recording will begin when you press [PLAY], or play a note 
or press the pedal. 



In the MIDI Rec Standby (Real Time) window you can perform 

the following operations. 

Specifying the punch-in/out points 

Specifying the loop points 

Quantize (p. 90) 

Selecting the sequencer data that will be recorded (p. 91) 

For details on these operations, refer to the appropriate page. 

When you are finished making settings in the MIDI Rec 
Standby (Real Time) window, press [PLAY] or [F6 (START)]. 

The IMIDI Rec Standby (Real Time) window mil close, the 

[REC] indicator will change from blinking to lit, and recording 

will begin. 

When recording begins, the Realtime Rec Control window will 

appear. 



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In the Realtime Rec Control window^ you can perform the 
following operations. 

• Specifying the punch-in/out points 

• Realtime Erase (p. 91) 

• Rehearsal Function (p. 92) 

For details on these operations, refer to the appropriate page. 

• To close the Realtime Rec Control window, press [F6 (CLOSE)] or 
[PLAY]. To open it once again, press [PLAY]. 

5. When you are finished recording, press [STOP]. 

The [REC] indicator will go dark. 



If you're not satisfied with the recording you just made, you can 
press [Fl (UNDO)] in the MIDI TRACK screen to revert to the 
state prior to recording (Undo). After executing Undo, you can 
use Redo to revert to the previous state. After executing Undo, you 
can execute Redo by performing the above procedure once again. 



Recording the Rhythm Pattern Playback to 
MIDI Track 

In the RHYTHM GROUP screen, record the rhythm pattern to 
MIDI track. 

In recording standby mode, wrhen you press [PLAY] (or [F6 
(START)]) the current rhythm pattern will start playback at the 
same time, and you can record the rhythm pattern. 



If you want to record the rhythm pattern at the same time 
that it starts playback, set the Count In to Off in the 
recording standby window. 



Recording Tempo Changes in a 
Song (Tempo Recording) 

If you want the tempo to change during the song, you can record 
those tempo changes in the Tempo track. If tempo changes have 
already been recorded in the tempo track, they •will be rewritten. 
Set the following recording parameters in addition to the basic 
settings described in step 3 of Basic Operation for Realtime 
Recording (p. 88). 
Parameter Value Explanation 



Tempo Rec Sw OFF, ON 



Specify whether tempo changes will be 
recorded (ON), or not (OFF). 



Loop Recording and Punch-In 
Recording 

You can record repeatedly over a specified area (Loop recording), or 
re-record just that area (Punch-in recording). 
Set the following recording parameters in addition to the basic 
settings described in step 3 of Basic Operation for Realtime 
Recording (p. 88). 

Parameter Explanation 

Loop /Punch Specify how loop recording or punch-in recording is to 

take place. 

OFF: 

Loop recording or punch-in recording will not occur. 

LOOP (POINT): 

Recording takes place repeatedly, according to the loop 

point settings. 

LOOP (1-16 MEAS): 

The 1-16 measure area starting at the record-start measure 

will be recorded repeatedly. 

LOOP SONG ALL: 

The entire song from beginning to end will be recorded re- 
peatedly. 

AUTO PUNCH: 

Auto punch-in recording will be performed. 

MANUAL PUNCH: 

Manual punch-in recording will be performed. 
Start Point Measure and beat at which loop recording or auto punch- 

in recording is to begin 

* It is not possible to specify the Tick. 

End Point Measure and beat at which loop recording or auto punch- 

in recording is to Stop. 

* It is not possible to specify the Tick. 

* The minimum loop length is four quarter notes. 

* After loop recording, the loop points (p. 95) will automatically be set 
to the recorded region. 

* You can also make loop settings by pressing SONG RECORDER 
[LOOP]. 




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Recording a Song (MIDI Track) 



Using Auto Punch-In Recording 

You must pre-specify the area (punch points) in wrhich recording is 
to take place. This is convenient when you want to re-record over a 
mistake. The song will play back when you begin recording. When 
you reach the punch-in point, playback will switch to record mode. 

1 . In the MIDI Rec Standby (Real Time) window, set the Loop/ 
Punch parameter to "AUTO PUNCH." 

2. Set the Start Point/End Point parameters to the desired 
punch points. 

3. IVIove to a measure earlier than the specified Start Point, 
and press [PLAY] or [F6 (START)]. 

The song will begin playing. Recording will begin at the 
location specified by the Start Point parameter. Playback will 
resume at the location specified by the End Point parameter. 

4. Press [STOP] to stop playbacl<. 

Using Manual Punch-In Recording 

Recording takes place (erasing the existing data) in the area that you 
specify by pressing a pedal or button. This is convenient when you 
want to re-record more than one location in which you made a 
mistake. The song will play back when you begin recording. When 
you press a pedal or button, playback will switch to record mode, 
and will switch back to play mode when you press the pedal or 
button once again. By pressing the pedal or button, you can toggle 
between record and play modes. 



If you want to use a pedal connected to the PEDAL CONTROL 
jack to specify the area for recording, you must first set the 
Control Pedal Assign parameter to "PUNCH IN/OUT" (p. 72). 

1 . In the MIDI Rec Standby (Real Time) window, set the Loop/ 
Punch parameter to "MANUAL PUNCH." 

2. Press [PLAY] or [F6 (START)]. 

Song playback will begin, and the Realtime Rec Control 
window will appear. 

3. At the point where you want to begin recording, press [F3 
(PUNCH IN)] or step on the pedal. 

Playback will switch to record mode. 

4. At the point where you want to stop recording, once again 
press [F3 (PUNCH OUT)] or step on the pedal. 

You will return to playback mode. 

5. Press [STOP] to stop playbacl<. 



Correct the Timing of Your Playing 
as You Record (Recording 
Quantize) 

The Quantize function automatically corrects inaccuracies in the 
timing of your keyboard performance, aligning the notes to accurate 
timing intervals. During realtime recording, you can quantize while 
you record. 

Set the following recording parameters in addition to the basic 
settings described in step 3 of Basic Operation for Realtime 
Recording (p. 88). 



Parameter 



Value 



Explanation 



Input Quantize OFF, GRID, OFF: Quantize will not be applied 

SHUFFLE while recording. 

GRID: Grid Quantize will be applied 
while recording. Use this when you 
want the timing to be accurate, such as 
when recording drums or bass. 
SHUFFLE: Shuffle Quantize will be 
applied while recording. Use this 
when you want to give the rhythm a 
"shuffle" or "swing" character. 



When "Input Qu 


antize" is "GRID' 




Grid Resolu- 


^ - ^3 . 


Quantization time interval 


tion 


/, ^3, 


Select the shortest note value that 




will occur in the range to which 




J" , J3, J 


Grid Quantize will be applied. 


Grid Quantize 


0-100% 


Degree to which notes will be adjusted 


Strength 




toward the timing intervals specified 

by Grid Resolution 

With a setting of "100%," the notes 
will be corrected precisely to the 
timing of the Grid Resolution pa- 
rameter. With a setting of "0%," the 
timing will not be adjusted at all. 


When "Input Qu 


antize" is "SHUF 


-LE" 


Shuffle Resolu- 


/ , I 


Quantization time interval 


tion 







Shuffle Quan- 0-100% Degree to which the backbeat will be 

tize separated from the downbeat speci- 

fied by Shuffle Resolution 

With a setting of "50%," the back- 
beat will be exactly between adja- 
cent downbeats. With a setting of 
"0%/' the backbeat will be moved 
to the same timing as the preceding 
downbeat. With a setting of 
"100%," the backbeat will be moved 
to the same timing as the following 
downbeat. 



When Quantize Type is "GRID" 

I I I I I I I I I 

\. Grid quantize with Resolution =: j^ 

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When Quantize Type is "SHUFFLE" 

I I I I I I I I I 

^ Shuffle quantize with Rate = 75% 

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Recording a Song (MIDI Track) 



Rate: 

Original performance data 



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Up 
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Up 
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Selecting the Sequencer Data that 
vs^ill Be Recorded (Recording Select) 

When you use realtime recording, all of your sequencer data will 
normally be recorded. If you want to avoid recording a specific type 
of data, you can turn its Recording Select setting "OFF." 

1 . Press [REC]. 

2. Press [F5 (REC SELECT)]. 

The Recording Select window appears. 



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Note Q Channel fifter k 



Control Change k Poly fifter 
Program Change k Pitch Bend 
System Ex k 



Press [^ [■w] l4i\ [^] to select the sequencer data (MIDI 
messages) that will be recorded. 



MIDI Message 


Explanation 


Note 


Represent notes. 


Control 
Change 


Apply various effects such as modulation or expression. 


Program 
Change 


Select sounds. 


System Ex 


Used to make settings unique to the fUNO-G, such as 
sound parameters. 


Channel After 


Apply aftertouch to an entire MIDI channel. 


Poly After 


Apply aftertouch to individual keys. 


Pitch Bend 


Change the pitch. 



4. Use the VALUE dial or [INC] [DEC] to add a checl< marl< (•). 

The message will be recorded if you assign a check mark (•), 
and will not be recorded if you remove the check mark. 

• [F4 (ALL ON)]: All of the sequencer data will be recorded. 

• [F5 (ALL OFF)]: No sequencer data will be recorded. 

5. Press [F6 (CLOSE)] to close the Recording Select window. 



Erasing Un^vanted Data While You 
Record (Realtime Erase) 

Realtime Erase is a function that erases unwanted data during 
realtime recording. This is particularly convenient during loop 
recording, since it lets you erase data without stopping recording. 

* Realtime Erase can be executed only if the Recording Mode is set to "MIX.' 

1 . Begin realtime recording (p. 88). 

The Realtime Rec Control window appears. 

2. Press [F4 (ERASE)]. 

The Realtime Erase window appears. 



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3. Erase unwanted data. 

• To erase all data, press [F5 (ALL NOTE)]. Data will be erased 
for as long as you hold down the button. 

• To erase notes of a specific key, hold down that key. Data for 
that note will be erased for as long as you hold down that key. 

• To erase notes of a specific key range, hold down the top and 
bottom keys of that range. Data for that range will be erased for 
as long as you hold down those keys. 

4. Press [F6 (CLOSE)] to close the Realtime Erase window. 

You will return to the normal recording state. 

Recording Arpeggios Aligned to 
the Measures of the Song Recorder 

When recording arpeggios in real time, you can synchronize the 
arpeggio with the song recorder start/stop timing. 
For details, refer to Arp/Rhythm Sync Switch (p. 162). 




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Recording a Song (MIDI Track) 



Auditioning Sounds or Phrases While 
Recording (Rehearsal Function) 

The Rehearsal function lets you ten^porarily suspend recording 
during realtime recording. This is convenient when you want to 
audition the sound that you will use next, or to practice the phrase 
that you will record next. 

1 . Begin realtime recording (p. 88). 

The Realtime Rec Control window appears. 

2. Press [F5 (REHEARSAL)] or [REC]. 

The [REC] indicator will blink, indicating that you are in 
rehearsal mode. In this state, nothing will be recorded when 
you play the keyboard. 



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To return to record mode, press [F5 (REHEARSAL)] or 
[REC] once again. 



Inputting Data One Step at 
a Time (Step Recording) 



Step Recording is the method of inputting notes and rests 
individually, as if you were writing them onto a musical staff. 

Inputting Notes and Rests 

1 . IVIake sure that the preparations for recording have been 
performed as described in "Before You Record a New IVIIDI 
Track" (p. 87). 



If you want to record into an existing song, load the desired song 
into Temporary Song (p. 115). Then press SONG RECORDER 
[BWD] or [FWD] to specify the measure at which you want to 
begin recording. The measure at which recording will begin is 
indicated by the "M=" in the upper right of each PLAY screen. 

2. Press [REC] twice, or hold down [SHIFT] and press [REC]. 

The [REC] indicator blinks, and the MIDI Rec Standby (Step 
Rec) mndow appears. 



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. Make settings for step recording. Use [.▲] [-w] [^] [^] to 
move the cursor to the desired parameter, and use the 
VALUE dial or [INC] [DEC] to set it. 

Parameter Explanation 



Rec Mode 



Start Point 



Select how recording is to take place. 
MIX: 

Mix-recording will be carried out. If a performance has al- 
ready been recorded on the recording-destination track, 
your newly recorded performance will be added to the exist- 
ing performance without erasing it. Normally, you will 
record using this method. 
REPLACE: 

Replace-recording will be carried out. If a performance has 
already been recorded on the recording-destination track, it 
will be erased as you record your new performance. Use this 
when you want to re-record. 

Specify the location {measure-beat-tick) at which recording 
will begin. 



4. Press [F6 (NOTE)] or [PLAY]. 

The [REC] indicator lights, and the STEP REC screen appears. 

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Recording a Song (MIDI Track) 



5. Specify the note that you want to input. Use [^] [^] to select 
the desired parameter. 



Parameter 


Value 


Explanation 


Note Type 


Note 
(p. 93) 


Specify the length of the notes that you want to in- 
put, in terms of a note value. 

The length of the note value indicates the 
length from one note-on to the next note-on. 


Gate Time 


1- 
100% 


Specify the proportion of the gate time relative to 

the Note Type. 

The gate time is the length between note-on 
and note-off. Specify a lower value if you want 
the notes to be played staccato, or a higher val- 
ue if you want the notes to be played tenuto, or 
as a slur. Normally, you will set this to about 
"80%." 


Input Velo 


REAL, 
1-127 


Specify the strength with which the note will be 

played. 

If you want this to be the strength with which 
you actually pressed the key, select "REAL." 
Otherwise, use settings of p (piano)=60, mf 
(mezzo forte)=90, or f (forte)=120 as general 
guidelines. 



6. Use the VALUE dial or [INC] [DEC] to make the setting. 

7. Press [F5] or [F6] to move to the desired input location, and 
press a note on the keyboard. 

When you press a key, the input position will advance by the 
value of the Note Type you specified. The velocities are 
displayed as a bar graph. 
You can use the function buttons to perform the following operations. 



Button 


Explanation 


El (BAK DEL) 


Cancel the previously input note. 


E2 (TIE) 


Extend the length of the previously input note by 
the current setting. 


E3 (UNTIE) 


Cancel the previously input TIE. 


F4 (REST) 


Inputs a rest. Eirst set the Note Type parameter to 
a length that is the same as the rest you want to 
input, and then press [F4 (REST)]. 


[SHIET] + [E6 (VIEW)] 


Switches the type of display in the STEP REC 
screen (Piano Roll ^-> Event List) 



8. Repeat the above steps to continue inputting. 



The previous value of each parameter is remembered. This 
means that if you want to use the same settings as the 
previously input note, there is no need to change the settings. 
Once you have set the Gate Time parameter and Input Velocity 
parameter, it is not normally necessary to change them, so all 
you have to do is set the Step Time parameter and specify the 
pitch (note) of each note. 



(memo ) 

The note will not be finalized as long as you hold down the key. 
This means that you will be able to modify the various 
parameters of the note (Note Type, Gate Time, Input Velo). 

9. When you are finished step recording, press [STOP]. 

The [REC] indicator will go dark. 



Inputting a Chord 

Press the chord. The cursor will move to the next step when you 
release all keys. 

Moving the input location 

Pressing [F6 (^)] will move the input location forward by the current 
Note Type value. 

Pressing [F5 (^)] will move the input location backward by the 
current Note Type value. 

Moving the display region 

Pressing [^] [^] will move the displayed region of notes upward 
or downward. 



The Relation betvsfeen Note Value Length 
and Gate Time 

The relation between the length of the note value and the gate 
time is shown below. Since the JUNO-G's song recorder uses a 
TPQN (Ticks Per Quarter Note; i.e., resolution) of 480, a quarter 
note gate time is 480 ticks. 



Note 


Gate time 


/ 


30 


^3 


40 


I. 


45 


^ 


60 


^3 


80 


^. 


90 


/ 


120 


^3 


160 


/ 


180 


J- 


240 


J3 


320 


s. 


360 


J 


480 


J3 


640 


J. 


720 


cJ 


960 


O 


1920 


KS 


3840 



(MEMO) 

The gate time that is recorded in step recording will be the 
original gate time value multiplied by the value of the Gate 
Time parameter. For example, if the Gate Time parameter 
is set to "80%," inputting a quarter note will mean that the 
gate time is 480 x 0.8=384. 




93 




4^ 



JUNO-G_e.book 94'^-y 2006^2^130 ^BH ^lt2©44^~- 




Editing a Song (MIDI Track) 




This chapter explains the procedure for editing a song (MIDI track). 



Loading the Song You Want 
to Edit 



When you're going to edit a song, you have to first load it into the 
Temporary Area. 

The Temporary Song will be lost if you turn power off or load 
another song into Temporary Area. If Temporary Area contains a 
song you wish to keep, you must save that song to user memory or 
memory card. 

For details on hovf to load the song you wrant to edit, refer to 
Loading and Playing a Song (Load Play) (p. 84). 

MIDI TRACK Screen 

The JUNO-G is able to record data of multiple MIDI channels. 
This screen graphically shows the note data of each channel. The 
height of the bar indicates the note pitch, and the length of the bar 
indicates the duration. 



Indicates the name of the 
currently selected song. 



Status of each track 




Indicates the song's 
J = i ZZ-^— playback tempo. 

Measures 
containing 
sequencer data 

Measures 
containing no 
sequencer data 



Playing Back vs^ith a Specific 
Instrument Muted (MIDI Track Mute) 



[7iZ> 

For details on howr to load the song you want to edit, refer to 
Playing Back with a Specific Instrument Muted (MIDI Track 
Mute) (p. 85). 

Assigning Markers in a Song 

You can add markers to desired measures writhin a song. This is a 
convenient way to visually keep track of sections within a song, and 
can also assist you in editing a song since you can easily and quickly 
jump to the marker location you specify. 

Assigning a marker 

Up to sixteen marker locations can be assigned in each song. 

1 . Press EDIT [SONG] to access the MIDI TRACK screen. 

2. Press [F5 (MARKER)]. 

The Edit Marker List window appears. 



3. Press [F3 (SET)] to add a marker to the beginning of the 
current measure. 

You can assign a marker location in this way even while 
listening to the song play back. 

* While the song is stopped, you can use SONG RECORDER [BWD] 
[FWD] to move a measure at a time. 

4. Press [F6 (CLOSE)] to close the window. 

Moving to marker locations 

Use the following procedure to change the song location to a marker 
location. 

1 . In the MIDI TRACK screen, press [F5 (MARKER)]. 

The Edit Marker List window appears. 

2. Use the VALUE dial or [INC] [DEC] [▲] [w] to select the 
marker to which you want to move. 

You will move to the location of the specified marker. 



You can hold down [SHIFT] and press [BWD] or [FWD] to jump 
to the preceding or following marker location. 

3. Press [F6 (CLOSE)] to close the window. 

Deleting a marker 

Here's how to delete a marker. 

1 . In the MIDI TRACK screen, press [F5 (MARKER)]. 

The Edit Marker List window appears. 

2. Use the VALUE dial or [INC] [DEC] [▲] [w] to select the 
marker to which you want to delete. 

3. Press [F4 (CLEAR)]. 

The specified marker will be deleted. 

4. Press [F6 (CLOSE)] to close the window. 

Naming a marker 

Here's how to name a marker. 

1 . In the MIDI TRACK screen, press [F5 (MARKER)]. 

The Edit Marker List window appears. 

2. Use the VALUE dial or [INC] [DEC] [▲] [■w] to select the 
marker that you want to rename. 

3. Press [F5 (NAME)] or [^]. 

The cursor will move to the right. 

4. Use the VALUE dial or [INC] [DEC] to select a name. 

* Choose from the list of names supplied. 

5. Press [F5 (NAME)], [EXIT] or [^] to finish assigning the 
name. 

6. Press [F6 (CLOSE)] to close the window. 



■# 



94 




JUNO-G_e.book SS'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Editing a Song (MIDI Track) 



(^ 



Specifying the Area of a Song that 
vs^ill Repeat (Loop Points) 

When using Loop Play or Loop Recording, you can use the loop 
points you specify here to specify the repeated area, as an alternative 
to repeating the specified number of measures. 

1 . Press EDIT [SONG] to access the MIDI TRACK screen. 

2. Hold down [SHIFT] and press SONG RECORDER [LOOP]. 

The Loop Play window will open, with the Loop function still off. 



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* If you press [LOOP] without holding down [SHIFT], the Loop 
function will turn on and the Loop Play window will open. 

3. Move the cursor to the desired parameter, and use the 
VALUE dial or [INC] [DEC] to make the setting. 

Parameter Explanation 

Repeat Times Number of repeats 

Value: INF, 1-99 

If you want repetition to continue until you press 

[STOP], set this to "INF." 
Start Point (S) Location at which repetition is to begin 

If you press [F3 (START)], the current location of the 

song will be set as the starting location. 

End Point (E) Location at which repetition will end 

If you press [F4 (END)], the current location of the 
song will be set as the ending location. 

* The location you specify here will not he included 
in the repeated area. 

4. If you press [LOOP] to make it light, or press [F5 (LOOP)] to 
add a check mark (•); looping will be turned on. 

5. Press [F6 (CLOSE)] to close the window. 



Aligning a Song's Timing 
(Quantize) 



In the chapter "Recording a Song (MIDI Track)" (p. 87), we 
explained Recording Quantize, which lets you quantize during 
realtime recording. Alternatively, it is also possible to quantize a 
song that has already been recorded. 

The JUNO-G has a Preview function that allows playing back the 
results of a Quantize operation while you are still setting parameters 
(before actual execution). This helps to make optimal Quantize settings. 



Previevsf Function 

The Preview function allows you to hear how quantizing will 
work wrhile you are still setting Quantize parameters (before 
you execute operation). If you modify parameter values during 
preview playback, the next preview playback wrill include those 
latest value changes. Try various parameter settings to find the 
one that works best. 

* You can't preview the playback of a MIDI track that's muted. 

* You can't change the Quantize Type while using the Preview 
function. 

Pressing [PLAY] when the Quantize window is displayed 
selects Preview mode. The two measures from the current 
location of the song will play back repeatedly. The preview start 
location can also be specified by pressing [FWD] or [BWD], To 
exit Preview mode, press [STOP]. 



dan 

The Quantize operation will correct only the timing at which 
notes were pressed (note-on) and released (note-off), and will 
not correct any other sequencer data. This means that if you 
record IVIIDI messages such as bend range or modulation along 
with notes, quantization can cause the notes to go out of sync 
with the MIDI messages, skewing timing. To avoid such 
problems it is better to record non-keyboard data afterward, 
using mix recording, etc. 

1 . Access the SONG LIST screen, and then load the song you 
want to edit (p. 84). 

2. Press EDIT [SONG] to access the MIDI TRACK screen. 

3. Press [F2 (QUANTIZE)]. 

The Quantize window appears. 



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Measure 

For 

Guantize Type 

Eesol ut ion 

Strength 

Range Min 



aaai 
Fill 

QEID 
1x16(J) 

100K 

ate -) 



4. 



Use [F3 (.▲)] [F4 {■w)] or [.^] [■w] to select a parameter, 
and use the VALUE dial or [INC] [DEC] to set the value. 



Parameter 


Value 


Explanation 


Ch/Part 


ALL, 


MIDI channel(s) of the notes to be quan- 




Ch 1-16 


tized 

ALL: Quantizes all notes. 

Ch 1-16 Quantizes only the notes of a 

specific MIDI channel. 




95 




JUNO-G_e.book 96^-v 200 6^2^130 MMB ^1^28^4 45t^ 



Editing a Song (MIDI Track) 



Parameter Value 



Measure 



For 



Quantize 
Type 



Explanation 



0001- Range of measures to be quantized 

1-ALL ^^ y*^''^ ^^^ "For" to "ALL," all measures 

will be specified. 



GRID, (See below.) 

SHUFFLE, 

TEMPLATE 



When "Quantize Type" is "GRID" 

Since the notes will be adjusted to the timing of the specified note value, 
you can use this when you want drums or bass (for example) to play in 
an accurate rhythm. 



Resolution 



Strength 



s 

J 



Quantization time interval 

Choose a Resolution that matches the 
smallest note in the area you're quantiz- 
ing. 



0-100% 



Percentage of how note timing will be cor- 
rected toward the timing interval specified 
by Resolution 

With a setting of "100%," the note will move all the way to 
the nearest timing interval of the Resolution setting. A set- 
ting of "0%" will not change note timing at all. 
When "Quantize Type" is "SHUFFLE" 

Use this when you want to produce a "shuffle" or "swing" rhythmic feel. 



Resolution 



Rate 



^, s 



Quantization time interval 



0-100% How far apart you want a down-beat spec- 

ified by Resolution to be from the up-beat 
that immediately follows 



By shifting the timing of an up-beat, you can create a 
"swing" feel. A setting of "50%" will place the timing of the 
up-beat note at the exact mid point between the down-beat 
and the next down-beat. A setting of "0%" will move the up- 
beat note to the same timing as the previous down-beat. A 
setting of "100%" will move it to the same timing as the fol- 
lowing down-beat. 



When "Quantize Type" is "TEMPLATE" 

The JUNO-G provides 71 quantize templates. These templates contain 
various quantize settings for applying rhythmic "feels' of many different 
musical categories. Select the template you want for quantization. 

* If your sequencer data notes are too far off from accurate time^ 
Template Quantize may not work that efficiently so you won't 
achieve the desired results. If this is the case, apply Grid Quan- 
tize to your sequencer data first to lose timing mistakes. 



Template 
Timing 



Range Min 
Range Max 



001-071 Template you wish to use 

0-100% How much a note will move toward the 

timing interval of the template 
At a setting of 100%, the note will be per- 
fectly timed with the template. At a setting 
of 0%, the note will not move at all. 



{C -)- Range of note numbers to be quantized 

127 (G9) You can also specify the key range by 

pressing keys on the keyboard. 



5. Press [F6 (EXEC)]. 

A message w^ill ask you for confirmation. 

6. Press [F6 (EXEC)]. 

* To cancel press [F5 (CANCEL)]. 



(MEMO) 

If you are not satisfied with the results of executing the 
function, you can press [Fl (UNDO)] in the MIDI TRACK screen 
to revert to the state prior to recording (Undo). After executing 
Undo, you can use Redo to revert to the previous state. After 
executing Undo, you can execute Redo by performing the above 
procedure once again. 



When Quantize Type is "GRID" 

I I I I I I I I I 

\. Grid quantize with Resolution = j^ 

; ; J) J) J) ^ i) ^ j) 
I I I I I I I I I 

When Quantize Type is "SHUFFLE" 

i) J) J) ^ J) J) ^ ^ ^ 
I I I I I I I I I 

^ Shuffle quantize with Rate = 75% 

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I I I I I I I I I 



Rate: 

Original performance data 



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When Quantize Type is "TEIVIPLATE" 

Here is a list of quantize templates. 



No. 


Explanation 


001 


Dance (small dynamics) 


002 


Dance (large dynamics) 


003 


Dance (light swing) 


004 


Dance (heavy swing) 


005 


Dance (dragging beats, small dynamics) 


006 


Dance (dragging beats, large dynamics) 


007 


Dance (dragging beats, light swing) 


008 


Dance (dragging beats, heavy swing) 


009 


Dance (pushing beats, small dynamics) 


010 


Dance (pushing beats, large dynamics) 


Oil 


Dance (pushing beats, light swing) 


012 


Dance (pushing beats, heavy swing) 


013 


Fusion (small dynamics) 


014 


Fusion (large dynamics) 


015 


Fusion (light swing) 


016 


Fusion (heavy swing) 


017 


Fusion (dragging beats, small dynamics) 


018 


Fusion (dragging beats, large dynamics) 


019 


Fusion (dragging beats, light swing) 


020 


Fusion (dragging beats, heavy swing) 


021 


Fusion (pushing beats, small dynamics) 


022 


Fusion (pushing beats, large dynamics) 


023 


Fusion (pushing beats, light swing) 


024 


Fusion (pushing beats, heavy swing) 


025 


Reggae (small dynamics) 


026 


Reggae (large dynamics) 


027 


Reggae (Ught swing) 


028 


Reggae (heavy swing) 


029 


Reggae (dragging beats, small dynamics) 


030 


Reggae (dragging beats, large dynamics) 


031 


Reggae (dragging beats, light swing) 


032 


Reggae (dragging beats, heavy swing) 


033 


Reggae (pushing beats, small dynamics) 




96 




JUNO-G_e.book gZ'^-y 200 6^2^130 ^WH ^ft2a#4 4-H- 



Editing a Song (MIDI Track) 



No. 


Explanation 


034 


Reggae {pushing beats, large dynamics) 


035 


Reggae (pushing beats, light swing) 


036 


Reggae (pushing beats, heavy swing) 


037 


Pops (small dynamics) 


038 


Pops (large dynamics) 


039 


Pops (light swing) 


040 


Pops (heavy swing) 


041 


Pops (dragging beats, small dynamics) 


042 


Pops (dragging beats, large dynamics) 


043 


Pops (dragging beats, light swing) 


044 


Pops (dragging beats, heavy swing) 


045 


Pops (pushing beats, small dynamics) 


046 


Pops (pushing beats, large dynamics) 


047 


Pops (pushing beats, light swing) 


048 


Pops (pushing beats, heavy swing) 


049 


Rhumba (small dynamics) 


050 


Rhumba (large dynamics) 


051 


Rhumba (light swing) 


052 


Rhumba (heavy swing) 


053 


Rhumba (dragging beats, small dynamics) 


054 


Rhumba (dragging beats, large dynamics) 


055 


Rhumba (dragging beats, light swing) 


056 


Rhumba (dragging beats, heavy swing) 


057 


Rhumba (pushing beats, small dynamics) 


058 


Rhumba (pushing beats, large dynamics) 


059 


Rhumba (pushing beats, light swing) 


060 


Rhumba (pushing beats, heavy swing) 


061 


Samba (for Pandeiro, etc.) 


062 


Samba (for Surdo, Timbale) 


063 


Axe (for Caixa) 


064 


Axe (for Surdo) 


065 


Salsa (for Cascala) 


066 


Salsa (for Conga) 


067 


Triplets 


068 


Quintuplets 


069 


Sextuplets 


070 


Septuplets over two beats 


071 


Lagging triplets 



The templates are designed jor a 4/4 time signature. Applying them to 
a performance of a different time signature may not produce the 
desired result. 

The style names shown here are only for your convenience; they are 
not intended to imply that the templates are usable only for the named 
style. You can certainly try them with other styles of music. 



Editing Sequencer Data 
Over the Specified Range 
(Track Edit) 



Track Edit lets you edit areas of sequencer data that you specify. 

Basic Operation for Track Editing 

1 . Access the SONG LIST screen, and then load the song you 
want to edit (p. 94). 



2. 
3. 



Press EDIT [SONG] to access the MIDI TRACK screen. 

Press [F6 (EDIT)]. 

The Track Edit window appears. 



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Track Edit 




Press [F3 (^] [F4 (■w)] or [^ [w] to select the desired 
function, and then press [F6 (SELECT)]. 



Copy 



Insert (p. 99) 



Erase (p. 98) 



Transpose (p. 99) 



Delete (p. 98) 



[1E> 

For details on the setting windows of each track editing 
function, refer to the following explanations of each function. 

5. Set the parameters for each function. Press [.▲] [^wl [^] [^] 
to move the cursor to the desired parameter, and use the 
VALUE dial or [INC] [DEC] to set the value. First check the 
region that is to be affected by the editing operation, and 
then make corrections If you want to change it. 

6. Press [F6 (EXEC)]. 

A message will ask you for confirmation. 

7. Press [F6 (EXEC)]. 

When the operation is completed, the display will briefly 
indicate "Completed!" 

* To cancel, press [F5 (CANCEL)]. 



(MEMO) 

If you are not satisfied with the results of executing the 
function, you can press [Fl (UNDO)] in the MIDI TRACK screen 
to revert to the state prior to recording (Undo). After executing 
Undo, you can use Redo to revert to the previous state. After 
executing Undo, you can execute Redo by performing the above 
procedure once again. 




97 




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Editing a Song (MIDI Track) 



Copying Phrases (Copy) 

This function copies a specified area of sequencer data. It is 
convenient for repeating the same phrase several times. 



[3I> 

For details 
Editing (p. 
Parameter 



on the settings, refer to Basic Operation for Track 
97). 
Value Explanation 



Src Ch/Part 



ALL, Ch 1-16 



MIDI channel of the perfor- 
mance data to be copied 



ALL: Copies all the sequencer data. 

Ch 1-16: Copies only the sequencer data of a specific 

MIDI channel. 

You can't specify this if Status is set to "System Exclusive. " 



Src Measure 



0001- 



For 



1-ALL 



Dst Ch/Part ALL, Ch 1-16 



Range of copy-source mea- 
sures 

If you set "For" to "ALL," 
all measures will be speci- 
fied. 

MIDI channel of the copy- 
destination performance 
data 



ALL: Copy performance data to all MIDI channels. 
Ch 1 -1 6: Copy performance data to the specified MIDI 
channel. 

Vow can't specify this if Status is set to "System Exclusive." 



Dst Measure 



0001-END 



Copy Mode MIX, REPLACE 



Copy-destination measure 

* If you want the copy destina- 
tion to be right after the last 
measure of a song, set this 
parameter to "END." 

Specifies whether you want 
to preserve the existing data 
in the copy destination when 
copying. 



MIX: Combines the data from the copy source with the 
existing data in the copy destination. 
REPLACE: Musical data in the copy destination will 
be erased (i.e., overwritten) when the copy takes place. 
Only the sequencer data of the MIDI channels specified 
by the Channel parameter will be overwritten, and 
data of other MIDI channels will remain. 



Copy Times 



Status 



1-999 



ALL, Note, Poly Aftertouch, 
Control Change, Program 
Change, Channel Aftertouch, 
Pitch Bend, System Exclusive 



Number of times that the 
data will be copied to the 
copy destination 

Type of data to be copied 



When "Status" is "Note" or "Poly Aftertouch" 



Range Min 
Range Max 



When "Status" 

Range Min 
Range Max 



(C -)-127 (G9) 



is "Control Change" 

0-127 



Range of note numbers to be 

copied 

You can also specify the 
key range by pressing 
keys on the keyboard. 

Range of controller numbers 
to be copied 



When "Status" is "Program Change" 


Range Min 


1-128 


Range of program numbers 
to be copied 


Range Max 



If you selected "ALL" for "Src Ch/Part" and "Dst Ch/Part," the tempo 
track, beat track, and audio tracks will also he copied at the same time. 



Erasing Un^vanted Performance 
Data (Erase) 



J 



This function erases all the sequencer data inside the specified area. As 
the erased data is replaced by rests, the original measures will remain. 



[3Z> 

For details on the settings, refer to Basic Operation for Tracl< 
Editing (p. 97). 



Parameter 


Value 


Explanation 


Ch/Part 


ALL, Ch 1-16 


MIDI channel of the data to 
be erased 


ALL: Erases all sequencer data. 

Ch 1-16: Erases sequencer data of one specific MIDI 

channel only. 

* You can't specify this if Status is set to "System Exclusive. " 


Measure 


0001- 


Range of measures to be 

erased 

If you set "Eor" to "ALL," 
all measures will be speci- 
fied. 


For 


1-ALL 


Status 


ALL, Note, Poly Aftertouch, 
Control Change, Program 
Change, Channel Aftertouch, 
Pitch Bend, System Exclusive 


Type of data to be erased 


When "Status' 


is "Note" or "Poly Aftertouch" 


Range Min 


(C -)-127 (G9) 


Range of note numbers to be 

erased 

You can also specify the 
key range by pressing 
keys on the keyboard. 


Range Max 


When "Status' 


is "Control Change" 




Range Min 


0-127 


Range of controller numbers 
to be erased 


Range Max 


When "Status' 


is "Program Change" 




Range Min 


1-128 


Range of program numbers 
to be erased 


Range Max 



* If you selected "ALL" for "Ch/Part," the tempo track and heat track 
will also he erased at the same time. 

Deleting Unvs^anted Measures 
(Delete) 

This function deletes a specified area of sequencer data, and moves 
the subsequent data to fill the gap. As a result, the measure length 
will be shortened by the number of deleted measures. 



SfZ> 

For details on the settings, refer to Basic Operation for Track 
Editing (p. 97). 



Parameter 


Value 


Explanation 


Measure 


0001- 


Range of measures to be deleted 

If you set "Eor" to "ALL," all measures will be 
specified. 


Eor 


1- 

ALL 



The tempo track, beat track, and audio tracks will also be deleted at the 
same time. 




98 




JUNO-G_e.book 99 '^-y 200 6^2^130 ^BH ^lt2©4 4^~- 



4^ 



Editing a Song (MIDI Track) 




Inserting a Blank Measure (Insert) 

This function inserts blank measures into a specified song position. 
As you can set the time signature of the blank measures, this is 
convenient when inserting a phrase having a different time signature 
in the middle of a song. 



[7fZ> 

For details on the settings, refer to Basic Operation for Track 
Editing (p. 97). 



Parameter 


Value 


Explanation 


Measure 


0001-END 


Measure location at which the blank 
measures are to be inserted 


For 


1- 


Number of blank measures to be insert- 
ed 


Beat 


Numerator: 1-32 
Denominator: 2, 
4, 8, 16 


In general, the time signature of the 
measure immediately before insertion 
will be used for the blank measures. To 
change the time signature of the blank 
measures to be inserted, use this pa- 
rameter. 

* Beat can be specified only when you have 
set "Track" to "TRK ALL." 



* Blank measures will also be inserted into the tempo track, heat track, 
and audio tracks at the same time. 

Transpose the Key (Transpose) 

This transposes the pitch of notes within a specified area, over a.+/- 
127 semitone range. Use this function to modulate from one key to 
another in a song, or to transpose the entire song. 

For details on the settings, refer to Basic Operation for Track 
Editing (p. 97). 



Parameter 


Value 


Explanation 


Ch/Part 


ALL, Ch 1-16 


MIDI channel(s) of the notes to be trans- 
posed 


ALL: Transposes all notes. 

Ch 1-16: Transposes only the notes of a specific MIDI 

channel. 


Measure 


0001- 


Range of measures to be transposed 
If you set "For" to "ALL," all mea- 
sures will be specified. 


For 


1-ALL 


Range Min 


(C -)-127 (G9) 


Range of note numbers to be transposed 
You can also specify the key range by 
pressing keys on the keyboard. 


Range Max 


Bias 


-127- +127 


Transpose amount in semitone steps 
Set a "+" (positive) value to raise the 
pitch, or a "-" (negative) value to low- 
er the pitch. 



If You Want to Lovs^er the Bass Sound One 
Octave... 

If your bass is played one octave higher than the staff notation, 
use the Transpose function to lower it one octave. 
To lower the bass sound one octave, set the Range parameter to 
"Lowest-Highest" for the bass part, and set the Bias parameter 
to "-12." 

When You Want to Change Percussion 
Sounds... 

You can also use the Transpose function to change percussion 

sounds. 

Suppose you want to change conga to tom. If the conga sound is 

assigned to the D4 key, and the tom sound is assigned to the C3 

key, set the Range parameter to "D4-D4" and the Bias 

parameter to "-14." 



Editing Individual Items of 
Sequencer Data (Micro Edit) 



Micro Edit lets you edit individual items of sequencer data recorded 
in a song, such as MIDI messages and tempo data. 

* When you're going to edit a song, you have to first load it into the 
Temporary Area (p. 94). 

Editing Sequencer Data (Basic 
Procedure in the Microscope) 

Access the Microscope screen when you want to view the sequencer 
data recorded in a song. Each line indicates the location (measure- 
beat-tick) at which the sequencer data is recorded, and the data 
recorded at that location. 

1 . Load the song that contains the sequencer data you want to 
view/edit (p. 115). 

2. Press [F3 (IVIICRO)]. 

The MICROSCOPE screen appears. 
Press [^] [^] to view sequencer data. 

Displays the parameter data at the cursor location 
MIDI channel 



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Sequencer data 
Location of the sequencer data (measure-beat-tick) 

Each time you press [F6 (VIEW)] you will switch between the two 
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■# 



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JUNO-G_e.book lOO'^-y 2006^2^130 ^BIH ^lS2a$445J- 



Editing a Song (MIDI Track) 



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3. Press [F5 (CH/PART)]. 

The Ch/Part Select window appears. 



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4. Select the track whose performance data you want to view 
or edit. 

• [F3 (IVIIDI)]: IVIIDI tracic 

Use the VALUE dial or [INC] [DEC] to make your selection. 

ALL: Tracks of all MIDI channels 

Ch1-Ch16: The track of the specified MIDI channel 

• [F4 (TEIVIPO)]: Tempo track 

• [F5 (BEAT)]: Beat track 

[7fZ> 

For an explanation of each type of sequencer data, refer to 
"Sequencer Data Handled by a MIDI Track," below. 

5. Press [F6 (CLOSE)] to close the window. 

6. Use [^] [^] or the VALUE dial to select the performance 
data that you want to edit. 

7. Press [^] [^] to select the parameter that you want to edit. 

8. Use the VALUE dial or [INC] [DEC] to set the value. 



When editing the Note Number of note or polyphonic 
aftertouch data, or the On Velocity or Off Velocity of a note, you 
can also specify the value by playing a key on the keyboard. 
• When you press [ENTER], the sequencer data currently shown 
at the "^" will be transmitted from the MIDI OUT connector. In 
the case of a note message, the note will sound when you press 
[ENTER]. 

[3Z> 

If you want to edit a system exclusive message, refer to "Editing 
a System Exclusive Message," below. 

9. To close the MICROSCOPE screen, press [EXIT]. 



Editing a System Exclusive Message 

1 . Use [^] [■w] or the VALUE dial to select the system 
exclusive message that you want to edit. 

2. Press [^]. 

The System Exclusive Edit screen appears. 



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3. Press [^ [w] [^] [^] to move the cursor to the data you 
want to edit. 

4. Use the VALUE dial or [INC] [DEC] to edit the value. 

• If you want to add data between "FO" and "F7," move the 
cursor to that location and press [F3 (INS)]. A value of "00" will 
be inserted. Change this to the desired value. 

• To delete data, move the cursor to the relevant location and 
press [F2 (DEL)]. 

5. When you are finished editing, press [F6 (EXEC)] to finalize 
the values of the system exclusive message. 

• To cancel, press [F5 (CANCEL)]. 



If you decide to discard the changes you made to the system 
exclusive message and return to the MICROSCOPE screen, 
press [EXIT]. 

• In the case of a Roland type IV system exclusive message, the 
checksum can be calculated automatically when you finalize the 
values. If you do not want to calculate the checksum 
automatically, press [Fl (AT SUM)] to remove the check mark (i/). 

• When you press [F4 (TEST)], the system exclusive message you 
are editing will be transmitted from the MIDI OUT connector. 

Sequencer Data Handled by a MIDI 
Track 

MIDI tracks can record the following seven types of sequencer data. 
The recorded location (measure-beat-tick) is displayed at the far left 
of each data item, and the MIDI channel number is displayed beside 
it. 

Note ( J ) 

These MIDI messages represent notes. From the left, the parameters 
are Note Number, which indicates the name of the note; On Velocity, 
which specifies the force with which the key is pressed; Duration, 
which specifies the duration of the note; and Off Velocity, which 
determines the speed with which the key is released. 

Program Change 

This MIDI message switches sounds. The program number (PC#) 
selects the sound. 




100 




JUNO-G_e.book 101 '^-y 2 00 6^2^130 ^BIH ^lS2a$4 45J- 



Editing a Song (MIDI Track) 



Control Change 

This MIDI message applies various effects such as modulation or 
expression. The controller number (CC#) selects the function, and 
Value specifies the depth of the effect. 

Pitch Bend 

This MIDI message changes the pitch. The value specifies the 
amount of pitch change. 

Poly Aftertouch 

This MIDI messages applies aftertouch to an individual note. From 
the left, the parameters are Note Number which specifies the key, 
and Value which specifies the depth of the aftertouch. 

Channel Aftertouch 

This MIDI message applies aftertouch to an entire MIDI channel. 
Value specifies the depth of the aftertouch. 

System Exclusive 

These are MIDI messages used to make settings unique to the JUNO- 
G, such as sound settings. Input the data between "FO" and "F7." 

Data Handled by the Tempo Track 

The Tempo track records tempo data for the song. 

Tempo Change 

This data specifies the tempo. The song mil play back according to 
the "Value" of the tempo change. 

The value displayed in "J = **" is the tempo at which the song will 
actually play (the playback tempo), and can be changed only in the 
PLAY screen of each mode. 

* If the tempo change value differs from the playback tempo, this means 
that the playback tempo has been changed temporarily. In other words, 
since the tempo change value has not been rewritten, this setting will 
be lost if you select another song or turn off the power. If you want to 
play back at this tempo the next time as well, you must re-save the 
song to disk. This will rewrite the tempo change value so that it 
matches the playback tempo. 

Data Handled by the Beat Track 

The Beat track records time signature data. 

Beat Change 

This specifies the time signature (Beat). 

Viewing Sequencer Data (View Select) 

Since a MIDI track contains a large amount of sequencer data, the 
display may be cluttered and difficult to read. For this reason, the 
JUNO-G lets you specify the type(s) of sequencer data that will be 
displayed in the screen. This is convenient when you want to check 
or edit only a specific type of sequencer data. 

1 . Access the MICROSCOPE screen. 



2. Hold down [SHIFT] and press [F5 (VIEW SEL)]. 

The View Select window appears. 



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3. Use [^ [^] [^] [^] to select the sequencer data that will 
be displayed. 

Note System Exclusive 

Program Change Pitch Bend 

Control Change 
CC Select 

Specifies the controller number that will be displayed. 

4. Press [INC] or [DEC] to switch. 

The message will be displayed if the check mark (•) is 
assigned, and will not be displayed if the check mark is 
removed. 

• [Fl (NOTE)]: Note 

• [F2 (CC)] : Control Change 

• [F3 (BEND)]: Pitch Bend 

• [F4 (ALL ON)]: All of the sequencer data will be displayed 

• [F5 (ALL OFF)]: None of the sequencer data will be displayed 

5. Press [F6 (CLOSE)] to close the View Select window. 

inserting Sequencer Data (Create) 

You can insert new sequencer data into a desired location of a MIDI 
track. 



For details on the sequencer data that can be inserted, refer to 
Sequencer Data Handled by a MIDI Track (p. 100). 

1 . Access the MICROSCOPE screen for the track into which 
you want to insert data. 

2. Press [Fl (CREATE)]. 

The Create Event window appears. 

3. Press [^.\ [■w\ to select the data that will be inserted. 

4. Press [F6 (EXEC)] to insert the performance data. 

The inserted data will have the default parameter values, so edit 
them as necessary. 



If you are not satisfied with the results of executing this 
operation, press [EXIT] to close the MICROSCOPE screen, and 
press [Fl (UNDO)] in the MIDI TRACK screen to return to the 
state prior to execution (Undo). After executing Undo, you can 
use Redo to revert to the previous state by performing the 
above procedure once again. 




101 




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Editing a Song (MIDI Track) 



Erasing Sequencer Data (Erase) 

If desired, you can erase just an individual event of sequencer data. 
You can also use the same operation to erase individual items of data 
from the tempo track or beat track. 

* It is not possible to erase the tempo change located at the beginning of 
the tempo track, the beat change located at the beginning of the heat 
track. 

1 . Access the MICROSCOPE screen for the track from which 
you want to erase data. 

2. Press [^ [^ to select the data that you want to erase. 

3. Hold down [SHIFT] and press [F6 (ERASE)] to erase the 
sequencer data. 



If you are not satisfied with the results of executing this 
operation, press [EXIT] to close the MICROSCOPE screen, and 
press [Fl (UNDO)] in the MIDI TRACK screen to return to the 
state prior to execution (Undo). After executing Undo, you can 
use Redo to revert to the previous state by performing the 
above procedure once again. 

Moving Sequencer Data (Move) 

You can move an individual item of sequencer data to a different 
location. Data recorded in the tempo track or beat track can also be 
moved in the same way. 

* It is not possible to move the tempo change located at the beginning of 
the tempo track, the beat change and key signature located at the 
beginning of the beat track. 

1 . Access the MICROSCOPE screen for the track whose data 
you want to move. 

2. Press [^ [^\ to select the data that you want to move. 

3. Press [F2 (MOVE)]. 

The Move Event window appears. 

4. Press [^] [^] to move the cursor to the "Meas (measure)," 
"Bt (beat)," and "Tick" fields. 

5. Use the VALUE dial or [INC] [DEC] to specify the location to 
which the data will be moved. 

6. Press [F6 (EXEC)] to move the data. 



If you are not satisfied with the results of executing this 
operation, press [EXIT] to close the MICROSCOPE screen, and 
press [Fl (UNDO)] in the MIDI TRACK screen to return to the 
state prior to execution (Undo). After executing Undo, you can 
use Redo to revert to the previous state by performing the 
above procedure once again. 



Copying Sequencer Data (Copy) 

Sequencer data can be copied to the desired location. This is 
convenient when you want to use the same sequencer data at 
multiple locations. Data recorded in the tempo track or beat track 
can also be copied in this way. 

1 . Access the MICROSCOPE screen for the track whose data 
you want to copy. 

2. Press [^ [■w\ to select the data that you want to copy. 

3. Press [F3 (COPY)]. 

4. Press [F4 (PLACE)]. 

The Place Event window appears. 

5. Press [^] [^] to move the cursor to the "Meas (measure)," 
"Bt (beat)," and "Tick" fields. 

6. Use the VALUE dial or [INC] [DEC] to specify the location to 
which the data will be copied. 

7. Press [F6 (EXEC)] to paste the data. 



If you are not satisfied with the results of executing this 
operation, press [EXIT] to close the MICROSCOPE screen, and 
press [Fl (UNDO)] in the MIDI TRACK screen to return to the 
state prior to execution (Undo). After executing Undo, you can 
use Redo to revert to the previous state by performing the 
above procedure once again. 

Changing the Tempo Midv^ay 
Through the Song 

If you want to change the tempo midway through the song, insert a new 
Tempo Change into the tempo track. The song will play back at that 
tempo following the location at which the tempo change was inserted. 

* If you want to create gradual tempo changes such as ritardando or 
accelerando, it is more convenient to use Tempo Recording (p. 89). 

* If you want to make the entire song faster or slower, change the 
playback tempo in one of the PLAY screens. 

1 . From the IVIICROSCOPE screen, press [F5 (CH/PART)]. 

The Ch/Part Select window appears. 

2. Press [F4 (TEMPO)] and then press [F6 (CLOSE)]. 

3. Press [Fl (CREATE)]. 

The Create Event window appears. 

4. Press [F6 (EXEC)]. 

The Create Position window appears. 

5. Press [^] [^] to move the cursor to the "Meas (measure)," 
"Bt (beat)," and "Tick" fields. 

6. Use the VALUE dial or [INC] [DEC] to specify the location at 
which the data will be inserted. 




102 




JUNO-G_e.book 103 '^-y 2006^2^130 ^BIH ^1»2a$445j- 



Editing a Song (MIDI Track) 



7. Press [F6 (EXEC)] to insert the tempo change data. 



A default value is specified for the tempo change that Is 
Inserted, so press [^] and use the VALUE dial or [INC] 
[DEC] to change the value as desired. 



8. 



If you are not satisfied with the results of executing this 
operation, press [EXIT] to close the MICROSCOPE screen, and 
press [Fl (UNDO)] in the MIDI TRACK screen to return to the 
state prior to execution (Undo). After executing Undo, you can 
use Redo to revert to the previous state by performing the 
above procedure once again. 

Changing the Time Signature 
Mid^vay Through the Song 

If you want to change the time signature midway through the song, 
insert a new Beat Change. The song will play back using that time 
signature for measures following the inserted beat change. 

1 . From the MICROSCOPE screen, press [F5 (CH/PART)]. 

The Ch/Part Select window appears. 

2. Press [F5 (BEAT)] and then press [F6 (CLOSE)]. 

3. Press [Fl (CREATE)]. 

The Create Event window appears. 

4. Press [F6 (EXEC)]. 

The Create Position window appears. 

5. Use the VALUE dial or [INC] [DEC] to specify the location at 
which the data will be Inserted. 

6. Press [F6 (EXEC)] to insert the beat change data. 

7. A default value is specified for the beat change that is 
Inserted, so press [^] and use the VALUE dial or [INC] 
[DEC] to change the value as desired. 



If you are not satisfied with the results of executing this 
operation, press [EXIT] to close the MICROSCOPE screen, and 
press [Fl (UNDO)] in the MIDI TRACK screen to return to the 
state prior to execution (Undo). After executing Undo, you can 
use Redo to revert to the previous state by performing the 
above procedure once again. 

csm 

It is not possible to change the time signature in the middle of a 
measure. You must change the time signature at the beginning 
of a measure. 



If you want to change the time signature from a measure that is 
later than the end of the song, or if it is ok to change the length 
of the song, you will find it more convenient to use the track 
edit Insert function (p. 99). 



Assigning a Name to a 
Song (Song Name) 



You can assign a song name to a song, or edit the song name. This 
song name is independent of the file name assigned when saving a 
song to user memory or memory card. Although you are not 
required to assign a song name, you can assign one using up to 15 
characters, and you may find it a convenient way to store a title or 
memo that will help you organize your songs. 

* Some commercially available Standard MIDI Files contain copyright 
data. It is not possible to assign or modify the song name for such songs. 

1 . Access the lUIIDI TRACK screen, and then load the song 
whose song name you want to assign (p. 84). 

2. Hold down [SHIFT] and press [F6 (UTILITY)]. 

The Song Utility Menu window appears. 

3. Press [F1 (SONG NAME)]. 

The SONG NAME screen appears. 

4. Assign a song name to the song, (up to 15 characters). 



[3I> 

For details on assigning names, refer to p. 24. 

5. After you have assigned a name, press [F6 (WRITE)]. 

* To cancel, press [F5 (CANCEL)]. 




103 




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Recording a Song (Audio Track) 



Before You Record Audio 
via the AUDIO INPUT Jacks 



The JUNO-G lets you sample audio sources, such as an audio device, 
mic, or CD. 

Before you record audio from a CD player, mic, or other external 
audio source connected to the AUDIO INPUT jacks, please follow 
the procedure described below. 

Making AUDIO INPUT Settings 
(Audio Input Setting) 

1 . Connect your CD player, mic, or other audio source to the 
AUDIO INPUT jacks located on the rear panel of the JUNO-G. 



Cautions when using a microplione 

Howling could be produced depending on the location of 
microphones relative to speakers. This can be remedied by: 

1. Changing the orientation of the microphone(s). 

2. Relocating microphone(s) at a greater distance from 
speakers. 

3. Lowering volume levels. 



2. While holding down [SHIFT], move the SONG RECORDER'S 
AUDIO IN slider. 

The AUDIO INPUT SETTING screen appears. 



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You can also access this screen by pressing EDIT [MENU] and 
selecting "6. Input Setting" in the Top Menu window. 

Press [m.] [w] to select the parameter that you want to set. 

Turn the VALUE dial or press [INC] [DEC] to set the value. 
Input Select 

Specifies the input source of the sound to be sampled. 

Value 

LINE IN L/R: INPUT jacks L/R (stereo) 

LINE IN L: INPUT jack L (mono) 

MICROPHONE: INPUT jack L (mono, mic level) 

Input FX (Effect) Type 

Selects the type of effect that will be applied to the external 

input source. 

Value: EQ, ENHANCER, COMPRESSOR, LIMITER, NOISE 

SUP, C CANCELLER 
When you press [F6 (In FX Setup)], the parameter setting screen 
for the currently selected input effect will be displayed "Input 
Effect Setup Settings." 



• Audio Input Asgn 

Output destination of the external input sound that is mixed in 

Value 

DRY: Output to OUTPUT (A) jacks without passing 

through effects 
MFX: Output through multi-effects 

When you select "MFX," selects which of the three multi-effects 
(1-3) mil be used. 

• Audio Input Level 

Volume level of the external input sound. 
Value: 0-127 

• You can also use the SONG RECORDER'S AUDIO IN slider to 
adjust this. 

• Audio Input Cho Send 

Adjusts the depth of chorus that will be applied to the external 
input source. Set this to "0" if you do not want to apply chorus. 
Value: 0-127 

• Audio Input Reverb Send 

Depth of reverb applied to the external input sound. Set this to 
if you don't want to apply reverb. 
Value: 0-127 

5. Press [F5 (In FX SW)] (Input Effect Switch) to add a check 
mark; the external audio input will be routed through the 
dedicated input effect. 

If you press [F5 (In FX SW)] to clear the check mark, the external 
audio input will not be routed through the dedicated input effect. 

6. Play back the external input source. 

7. Turn the rear panel AUDIO INPUT LEVEL knob to adjust the 
input level from the external audio source. 

8. Press [EXIT] to return to the previous screen. 



Input Effect Setup Settings 



1 . While holding down [SHIFT], move the SONG RECORDER'S 
AUDIO IN slider. 

The AUDIO INPUT SETTING screen appears. 

* You can also access this screen by pressing EDIT [MENU] and 
selecting "6. Input Setting" in the Top Menu window. 

2. Press [F6 (In FX SETUP)]. 

The INPUT FX SETUP screen appears. 



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3. Press [^ [w] to move the cursor. 

4. Turn the VALUE dial, or press [INC] /[DEC] to set the value. 

In this settings screen, you can edit parameters for the type of 
input effect you selected. 




104 




JUNO-G_e.book 105 '^-y 2006^2^130 ^BIH ^1»2a$445j- 



Recording a Song (Audio Track) 



You can also use the SOUND MODIFY knobs 1-4 to edit the value of 

the corresponding parameters. 

01: EQUALIZER 

Adjusts the tone of the low-frequency and high-frequency ranges. 



Parameter 


Range 


Explanation 


Low Freq 


200, 400 Hz 


Center frequency of the low- 
frequency range 


Low Gain 


-15-+15 dB 


Amount of low-frequency 
boost/cut 


High Freq 


2000,4000,8000 Hz 


Center frequency of the high- 
frequency range 


High Gain 


-15-+15 dB 


Amount of high-frequency 
boost/cut 



02: ENHANCER 

Modifies the harmonic content of the high-frequency range to 
add sparkle to the sound. 
Parameter Range Explanation 



Sens 



0-127 Depth of the enhancer effect 



Mix 0-127 Volume of the harmonics that are generated 

03: COMPRESSOR 
Restrains high levels and boosts low levels to make the overall 



volume more 


consistent. 




Parameter 


Range 


Explanation 


Attack 


0-127 


Time from when the input exceeds the 
Threshold until the volume begins to be 
compressed 


Threshold 


0-127 


Volume level at which compression will 
begin 


Post Gain 


0-+18 dB 


Level of the output sound 



04: LIMITER 

Compresses the sound when it exceeds a specified volume, to 

keep distortion from occurring. 



Parameter 


Range 


Explanation 


Release 


0-127 


Time from when the input falls below the 
Threshold until compression ceases 


Threshold 


0-127 


Volume level at which compression will 
begin 


Post Gain 


0-+18 dB 


Level of the output sound 



05: NOISE SUPPRESSOR 

Suppresses noise during periods of silence. 



Parameter Range Explanation 



Threshold 0-127 Volume at which noise suppression will begin 

Release 0-127 Time from when noise suppression begins 

until the volume reaches zero. 

06: CENTER CANCELER 

Removes the sounds that are localized at the center of the stereo 

input. This is a convenient way to eliminate a vocal. 



Parameter 


Range 


Explanation 


Ch Balance 


-50- +50 


Volume balance of the L (left) and R 
(right) channels for removing the sound 


Range Low 


16-15000 Hz 


Lower frequency limit of the band to 
be removed 


Range High 


16-15000 Hz 


Upper frequency limit of the band to 
be removed 



(memo ) 

When you enter the INPUT EX SETUP screen, the indicators 
located at the left of SOUND MODIFY knobs 1-4 will go dark; 
in this state, knobs 1—4 are used to edit the parameters of the 
input effect. If you press the button once again to make the 
indicator light, the knobs will return to their normal function. 
When you exit the Input Effect Setup screen, the indicator will 
automatically return to its previous lit state. 

5. Press [EXIT] to return to the previous screen. 



Recording an Audio Track 
(SOLO/RE-SAMPLING) 



Here's how to record the input from an AUDIO INPUT jack or from 
the internal sound generator. 

1 . Press SONG RECORDER [AUDIO TRACK]. 

The AUDIO TRACK screen appears. 

2. Press [REC]. 

The [REC] indicator will blink, and the Audio Rec Standby 
window will appear. 





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Use the Audio Rec Mode (Audio Recording IVIode) field to 
select the recording method you want to use. 

Use [^] [^] to move the cursor to Audio Rec Mode, and turn 

the VALUE dial or use [INC] [DEC] to select the desired 

recording mode. 

SOLO 

The internal sound generator will play as usual, and only the 

sound from the external audio input will be recorded. 

You won't he able to apply effects to the external audio input. 

RE-SAiVIPLING 

The sound from the internal sound generator (including the 

audio tracks) will be recorded. The external audio input will not 

be heard. 

The volume of a resampled phrase may be less than the original volume 
of the phrase. As necessary, use Normalize (p. 121) to raise the volume. 

Audio tracks whose Audio Track Output Assign (p. Ill) parameter is 

set to MON (Monitor) will not be recorded. 

AUDIO MERGE 

Multiple audio tracks will be combined into one audio track. 

For details, refer to Combining Multiple Audio Tracks into 

One Track (AUDIO MERGE) (p. 106). 

Use the Audio Rec Count In (Audio Recording Count In) 
field to specify how you want recording to start. 

Use [^] \'W\ to move the cursor to Audio Rec Count In, and turn 

the VALUE dial or use [INC] [DEC] to choose the desired setting. 

OFF 

Recording will start the moment you press [PLAY]. 

1 MEAS 

When you press [PLAY], there will be a count-in (playback) 
beginning one measure before the recording start point. 
Recording will start when you reach the recording start point. 

2 MEAS 

When you press [PLAY], there will be a count-in (playback) 
beginning two measures before the recording start point. 
Recording will start when you reach the recording start point. 




105 




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Recording a Song (Audio Track) 



5. 



6. 



Use the Audio Rec Channel (audio recording channel) field 
to select whether you will record in stereo or in monaural. 

Use [^] [^] to move the cursor to Audio Rec Channel, and turn 

the VALUE dial or use [INC] [DEC] to choose the desired setting. 

MONO 

Record in monaural. 

STEREO 

Record in stereo. 

When you've chosen the desired setting in the Audio Rec 
Standby window, press [PLAY] or [F6 (START)]. 

The Audio Rec Standby window will close, the [REC[ indicator 
will change from blinking to steadily lit, and recording will start. 
When recording starts, the Audio Recording window will appear. 



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To close the Audio Recording window, press [F6 (Close)] or 
[PLAY]. To open it once again, press [PLAY]. 

7. When you've finished recording, press [STOP]. 

The [REC] indicator will go dark. 

8. The Audio Rec Sample Assign window will open. 
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Use [BWD]+[STOP] (TOP), [BWD] [FWD], the VALUE dial, or 
l^] [^] [^] [^] to specify the location at which you want to 
assign the sample event. 

Press [F6 (ASSIGN)]. 

A sample event that plays the recorded sample will be assigned 

to the audio track, and you will return to the previous screen. 

If you press [F4 (UNLOAD)], the samples you just recorded will 

be deleted (unloaded). A message will ask you for confirmation; 

press [F6 (EXEC)] to confirm. 

If you want to neither assign nor unload the sample, press [F5 

(CANCEL)]. 

Even if you cancel, the recorded sample data itself will remain in the 
sample list. 



(MEMO) 

If the sample event you assign would exceed the length of the 
song, a screen will ask you to confirm wrhether you want to 
extend the length of the song. Press [F6 (EXEC)] to 
automatically extend the length of the song so that the sample 
event can play back completely. 



(MEMO) 

If the sample memory is full, the "Sample Memory Full" error 
will be displayed. In this case, you can either delete unneeded 



sample data (p. 118) or install more memory (p. 176). 

Recording the Rhythm Pattern Playback to 
Audio Track 

In the RHYTHM GROUP screen, record the rhythm pattern to 
Audio Track. 

In recording standby mode, when you press [PLAY] (or [F6 
(START)]) the current rhythm pattern will start playback at the 
same time, and you can record the rhythm pattern. 



If you want to record the rhythm pattern at the same time 
that it starts playback, set the Count In to Off in the 
recording standby window. 



Combining Multiple Audio 
Tracks into One Track 
(AUDIO MERGE) 



A maximum of four tracks are available for you to use. By combining 
(merging) several audio tracks, you can free up audio tracks for 
other uses. 

When you record using Audio Merge, all MIDI tracks mil be muted 
automatically, and the audio tracks will be recorded according to the 
current track mute setting. 

1 . Press SONG RECORDER [AUDIO TRACK]. 

The AUDIO TRACK screen appears. 

2. Mute any tracks that you don't want to merge (p. 85). 

3. Press [REC]. 

The [REC] indicator will blink, and the Audio Rec Standby 
window mil appear. 

4. In the Audio Rec Mode (Audio Recording Mode) field, 
choose "AUDIO MERGE." 

Use [^] [^] to move the cursor, and turn the VALUE dial or 
use [INC] [DEC] to make the setting. 

5. In the Audio Rec Count In (Audio Recording Count In) field, 
specify how you want recording to start. 

Refer to step 4 of "Recording an audio track (SOLO/RE- 
SAMPLING)." 

6. In the Audio Rec Channel (Audio Recording Channel) field, 
select whether you will record in stereo or in monaural. 

Refer to step 5 of "Recording an audio track (SOLO/RE- 
SAMPLING)." 

7. When you've finished making settings in the Audio Rec 
Standby window, press [PLAY] or [F6 (START)]. 

The Audio Rec Standby window will close, the [REC[ indicator 
will change from blinking to steadily lit, and recording will start. 
When recording starts, the Audio Recording window will appear. 
To close the Audio Recording window, press [F6 (CLOSE)] or 
[PLAY]. To open it once again, press [PLAY]. 




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Recording a Song (Audio Track) 



8. When you've finished recording, press [STOP]. 

The [REC] indicator will go dark. 

9. The Audio Rec Sample Assign window will open. 

The location at which the recorded sample event is to be 
assigned will blink. 

Use [BWD]+[STOP] (TOP), [BWD] [FWD], the VALUE dial, or 
[^] [^] [^] [^] to specify the location at which you want to 
assign the sample event. 

1 0. Press [F6 (ASSIGN)]. 

A sample event that plays the recorded sample will be assigned 
to the audio track, and you will return to the previous screen. 

• If you press [F4 (UNLOAD)], the samples you just recorded will 
be deleted (unloaded). A message will ask you for confirmation; 
press [F6 (EXEC)] to confirm. 

• If you want to neither assign nor unload the sample, press [F5 
(CANCEL)]. 

• Even if you cancel, the recorded sample data itself will remain in the 
sample list. 



(MEMO) 

If the sample event you assign would exceed the length of the 
song, a screen will ask you to confirm wrhether you want to 
extend the length of the song. Press [F6 (EXEC)] to 
automatically extend the length of the song so that the sample 
event can play back completely. 



(MEMO) 

If the sample memory is full, the "Sample Memory Full" error 
will be displayed. In this case, you can either delete unneeded 
sample data (p. 118) or install more memory (p. 176). 




107 




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Editing a Song (Audio Track) 




You will use the following two screens to edit audio tracks. 

• AUDIO TRACK screen 

Here you can edit each audio track. 

• AUDIO MIXER screen (p. Ill) 

In this screen you can adjust the mixing of the audio tracks, 
such as their level and pan. 



Items in the AUDIO TRACK 
Screen 



1 . Press SONG RECORDER [AUDIO TRACK]. 

The AUDIO TRACK screen appears. 



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1 . Indicates the name of the currently selected song. 

2. Indicates the current location of the audio track. 

3. Audio level meter. 

4. Indicates the time signature and tempo of the song. 

5. Indicates the current location. 

6. Indicates the name, contents, and markers of audio tracks. 

If the audio file referenced by the selected sample event is not 
loaded, the sample number will be displayed for the sample 
event. 

7. Shows details of the currently selected event. 

If this indicates "unload," the audio file referenced by the 
selected sample event has not been loaded. 

8. Inserts a sample event at the specified location. 

9. Copies the sample event (p. 109). 

10. Deletes the selected sample event (p. 109). 

1 1 . Mutes audio tracks (p. 109). 

12. Displays the marker list (p. 109). 

13. Displays the AUDIO MIXER screen (p. 111). 

14. Erases audio tracks (p. 109). 

15. Names an audio track (p. 110). 

16. Unloads the sample (p. 110). 

17. Combines the contents of the tracks into a single audio track (p. 110). 

18. Zooms in/out in the display (p. 110). 



Editing Audio Tracks (AUDIO 
TRACK Screen) 



Moving a Sample Event (Move) 

Here's how to move the currently selected sample event to another 
track or location. 

1 . Use [^ [-w] [^] [^] to select the sample event you want to 
move. 

The selected event is displayed in orange. 

2. Press [SHIFT]. 

The cursor will change shape as follows. 







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3. While continuing to hold down [SHIFT], press [^ ["w]. 

Move the sample event to the desired track. 

4. While continuing to hold down [SHIFT], use the following 
buttons to move the sample event to the desired location. 

• [INC] [DEC] 

Move the sample event in steps of one tick. 

Move the sample event in steps of one measure. 

• VALUE dial 

Move the sample event in steps of 16th note (120 ticks). 

Selecting and Auditioning a 
Sample Event (Previe^v) 

1 . Use to select a track. 

2. Press [ENTER]. 

The sample in the track you selected in step 1 that is closest to 
the current location will be selected. 

While the play is stopped, you can audition (preview) the 
sample by continuing to hold down [ENTER]. 

inserting a Sample Event at a 
Specified Location (Insert) 

1 . Use [^ [^ to select the audio track into which you want 
to insert a sample event. 

2. Specify the location at which you want to insert a sample 
event. 

The buttons have the following functions. 

• [STOP] + [BWD] (TOP) 

Moves the current location to the beginning of the song. 



■# 



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Editing a Song (Audio Track) 



(^ 



• [INC] [DEC] 

Move the current location in steps of one tick. 

• [BWD] [FWD] 

Move the current location in steps of one measure. 

• VALUE dial 

Moves the current location in steps of 120 ticks. 

3. Press [F1 (INSERT)]. 

The SAMPLE SEL screen will appear. 

4. Select the sample event that you want to insert, and press 
[F6 (SELECT)]. 

The sample event will be inserted at the location you specified. 



(MEMO ) 

If inserting the sample event would exceed the current length of 
the song, a screen will ask you whether you really want to 
extend the length of the song. When you press [F6 (EXEC)], the 
song will automatically be lengthened as necessary to 
accommodate the newly inserted sample event. 

Copying a Sample Event (Copy) 

Here's how to copy the currently selected sample event. 

1 . Use [.a] [■w] E^] [^] to select the sample event that you 
want to copy. 

2. Press [F2 (COPY)]. 

The currently selected sample event will be copied to a location 
immediately following itself. 



(MEMO ) 

If copying the sample event would make the track exceed the 
current length of the song, a screen will ask you whether you 
really want to extend the length of the song. When you press 
[F6 (EXEC)], the song will automatically be lengthened as 
necessary to accommodate the newly copied sample event. 

Deleting the Selected Sample Event 
from an Audio Track (Delete) 

1 . Use [^] Iw] [^] [^] to select the sample event that you 
want to delete from an audio track. 

2. Press [F3 (DELETE)]. 

The selected sample event will be deleted from the track. 

* This merely deletes the sample event; the sample data itself will remain 
in the sample list. 

Muting Audio Tracks (Mute) 



[3Z> 

Refer to Playing Back with an Audio Track Muted (Audio 
Track Mute) (p. 85). 



Vievs^ing a List of Markers (Marker 
List) 

You can assign markers to desired measures writhin a song. This 
gives you a visual indication of the structure of your song, and is a 
real convenience when editing a song since you can move rapidly to 
a desired marker. 

Here's how you can view a list of the markers in the song, and edit 
the markers. 

1. Press [F5 (MARKER)]. 

The Edit Marker List window will appear. 



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The buttons have the following functions. 

VALUE dial, [INC] [DEC], [A.] [▼] 

Select a marker within the list. The current location will jump 

accordingly. 

[F3 (SET)] 

Adds a marker at the beginning of the current measure. 

[F4 (CLEAR)] 

Deletes the selected marker. 

[F5 (NAME)], [^] 

Assigns a name to the currently selected marker. Use the 

VALUE dial or [INC] [DEC] to select a name, and press [E5 

(NAME)] or [^] to finalize your choice. 



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2. Press [F6 (CLOSE)] to close the window. 

Erasing Audio Tracks (Clear) 

1 . Hold down [SHIFT] and press [F1 (CLEAR)]. 

The Audio Track Clear Menu window appears. 



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Turn the VALUE dial, or press [INC] [DEC] or [▲] [w] to 
select the menu. 

1 Clear All 

All audio tracks will be erased. (The track names and setup data 

will also revert to their default settings.) 




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Editing a Song (Audio Track) 



* 2 Clear Track 

The selected audio track will be erased. (The track name and 
setup data wrill also revert to its default settings.) 

3. Press [F6 (SELECT)]. 

A message will ask you for confirmation. 

4. Press [F6 (EXEC)]. 

* If you decide to cancel, press [F5 (CANCEL)]. 

* This operation will not change the length of the song. 

Naming an Audio Track (Track Name) 

Here's how to assign a name to an audio track (you can use up to 
twelve characters). 

1 . Use to select the audio track that you want to name. 

2. Hold down [SHIFT] and press [F2 (TRK NAME)]. 

The AUDIO TRACK NAME screen will appear. 

3. Assign the desired name. 

* For details on how to assign a name, refer to p. 24. 

4. Press [F6 (WRITE)] to confirm the name. 

Unloading a Sample (Unload Sample) 

This operation deletes the currently selected sample event and also 
unloads it from the sample list. 

1 . Hold down [SHIFT] and press [F3 (UNLOAD)]. 

A message will ask you for confirmation. 

2. Press [F6 (EXEC)] to execute. 

* If you decide to cancel, press [F5 (CANCEL)]. 

Combining the Contents of the Tracks 
into One Audio Track (Mixdo>vn) 

This operation lets you specify a region, then have the performance 
of all audio tracks and MIDI tracks in that region be combined into a 
single track. 

After creating a sample in this way, you can save it on your 
computer as the audio data for a single song. 

1 . Hold down [SHIFT] and press [F4 (MIXDOWN)]. 

The [REC] indicator will blink, and the Mixdown Standby 
window will appear. 

2. In the Mixdown Standby window, specify the region that 
you want to mix down. 

Use [^] [^] to move the cursor to each parameter, and turn 
the VALUE dial or use [INC] [DEC] to set the value. 





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Start Point 

Specify the measure at which the mixdown is to start. 

End Point 

Specify the measure at which the mixdown is to end. 

Press [PLAY] or [F6 (START)]. 

The Mixdown Standby window will close, and [REC] indicator 
will change from blinking to lit, and the mixdown will begin. 
When the mixdown begins, the Mixdown window will appear. 



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To close the Mixdown window, press [F6 (CLOSE)] or [PLAY]. 
To open it again, press [PLAY]. 

4. The mixdown will end automatically. 

The [REC] indicator will go out. 

* You can also press ]STOP] to stop before you reach the end. 

5. The Mixdown Sample Assign window will open. 

Use [STOP] + [BWD] (TOP), [BWD][FWD] or [a.] [▼■] I^] [►] 
to specify the location at which the sample event will be 
assigned. 

6. Press [F6 (ASSIGN)]. 

A sample event that plays the mixed-down sample will be 
assigned to the audio track, and you will return to the previous 
screen. 

• If you press [E4 (UNLOAD)], the samples you just mixed down 
will be deleted (unloaded). A message will ask you for 
confirmation; press [F6 (EXEC)] to confirm. 

• If you want to neither assign nor unload the sample, press [E5 
(CANCEL)]. 

* Even if you cancel, the mixed-down sample data itself will remain in 
the sample list. 



(MEMO) 

If the sample memory is full, the "Sample Memory Full" error 
will be displayed. In this case, you can either delete unneeded 
sample data or install more memory (p. 176). 

Zoomina In and Zooming Out in 
the Display 

1 . Hold down [SHIFT] and press [F5 (Zoom <)] (reduce) / [F6 
(Zoom >)] (magnify). 

You can zoom in/out to display between two and thirty-two 
measures in the screen. 




110 




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Editing a Song (Audio Track) 




Items in the AUDIO MIXER 
Screen 



1 . With the AUDIO TRACK screen displayed, press [F6 (MIXER)]. 

The AUDIO MIXER screen will appear. 

* Press [F6 (EDIT)] to switch the AUDIO TRACK screen. 









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1. Indicates the name of the currently selected song. 

2. Indicates the on/off status of the multieffects (MFX 1-3), chorus 
(CHO), reverb (REV), and mastering effect (MASTER). 

3. Indicates the time signature and tempo of the song. 

4. Showrs the parameters that can be controlled for each audio track. 

5. Audio level meter. 

6. Displays a simplified view of the AUDIO TRACK screen. 

7. Area 4 will show the volume and pan. 

8. Area 4 will show the chorus and reverb. 

9. Area 4 will show the audio track key shift and the output assigrunent. 

1 0. Mutes audio tracks. 

1 1 . Displays the marker list. 

12. Displays the AUDIO TRACK screen (p. 108). 



Controlling the Audio Tracks 
(AUDIO MIXER screen) 



It's convenient to use the AUDIO MIXER screen when you want to adjust 
mixing parameters, such as the level and pan of the four audio tracks. 

Controlling the Audio Track Settings 
Adjusting the Volume and Pan 

1 . Press [F1 (LVL&PAN)]. 

2. Use [^] [^] to move the cursor to the audio track you want 
to edit. 

3. Use [^ ['^] to move the cursor to the parameter you want 
to edit. 

• LEVEL: Track Level 

Adjusts the volume of each audio track. This is used mainly to 
set the volume balance between audio tracks. 
Value: 0-127 

• PAN: Track Pan 

Adjusts the pan of each audio track. "L64" is far left, "0" is 
center, and "63R" is far right. 
Value: L64-0-63R 

4. Turn the VALUE dial or use [INC] [DEC] to adjust the value. 



Adjusting the Chorus and Reverb 

1. Press [F2 (CHO&REV)]. 

2. Use [^] [^] to move the cursor to the audio track you want 
to edit. 

3. Use [^ ["w] to move the cursor to the parameter you want 
to edit. 

• CHO: Track Chorus Send Level 

Adjusts the amount of signal sent from each audio track to the 

chorus. 

Value: 0-127 

• REV: Track Reverb Send Level 

Adjusts the amount of signal sent from each audio track to the 

reverb. 

Value: 0-127 

4. Turn the VALUE dial or use [INC] [DEC] to adjust the value. 

Setting the Audio Track Key Shift and 
Output Assignment 

1 . Press [F3 (KEY&OCT)]. 

2. Use [^] [^] to move the cursor to the audio track you want 
to edit. 

3. Use [^ [-w] to move the cursor to the parameter you want 
to edit. 

• KEY: Audio Track Key Shift 

Adjusts the pitch of each track in semitone steps (+/-2 octaves). 
Value: -24-+24 

• OUT :Output Assign 

Specifies how the direct sound from each audio track will be 

output. 

Value: 

MFX 1—3: The sound will be routed through the multieffect and 

output in stereo. You can also apply chorus or reverb to the 

sound that has passed through the multi-effect. 

A, B: The sound will be output in stereo from the OUTPUT A 

(MIX) jacks or OUTPUT B jacks without passing through a 

multi-effect. 

MON: The sound will be output in stereo from the OUTPUT A 

(MIX) jacks without passing through a multi-effect. Use this 

setting if you want only to hear the sound without resampling 

or recording it. 

4. Turn the VALUE dial or use [INC] [DEC] to adjust the value. 

Muting Audio Tracks (Mute) 



[2I> 

Refer to Playing Back with an Audio Track Muted (Audio 
Track Mute) (p. 85). 



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Editing a Song (Audio Track) 



Vie^ving a List of Markers (Marker 
List) 



Refer to p. 109. 



Using the Sliders to Control the 
Mixer 

You can move the SONG RECORDER TRACK A1-A4 sliders to 
adjust the volume (track level) of each audio track. 



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Saving/Loading a Song (Save/Load) 



Songs you record are initially held in Temporary Area. A song in 
Temporary Area will be lost when you turn off the power or when 
you load a different song. If you want to keep the song, you must 
save it to user memory or a memory card. 

Conversely in order to edit a song (p. 94, p. 108), you must first load 
it into Temporary Area. 



Saving a Song (Save) 



Basic Procedure 

1 . Hold down [SHIFT] and press EDIT [WRITE]. 

The SAVE/LOAD MENU screen appears. 



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SaveSong+SmpIs 



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Save Song 



Load Song 



Save all Samples "■ Load all Samples 



When the MIDI TRACK screen, AUDIO TRACK screen, or AUDIO 
MIXER screen is displayed, you can access the SAVE/LOAD MENU 
screen simply by pressing EDIT [WRITE]. 

Press [F1 (1)]-[F3 (3)] to select the format in which you want 
to save the song. 

1. Save Song+Smpis: 

The temporary song will be saved as a song file (SVQ file, SVA 
file). All samples in sample memory will also be saved. The 
saved song includes the data of the temporary area. 

2. Save Song: 

The temporary song will be saved as a song file (SVQ file, SVA 
file). The saved song includes the data of the temporary area. 

3. Save all Samples: 

All samples in sample memory will be saved. 



Function 


Button 


Song 


ALL Samples 


Save Song+Smpls 


[Fl] 


• 


• 


Save Song 


[F2] 


• 


- 


Save all Samples 


[F3] 


- 


• 



^: Saving is possible 

Data Saved Together v^ith a Song 

The performances, patches, and system setup you are using at that 
time are saved together with the song recorder data. 
The performances and patches saved along with the song are special 
data used to reproduce the song; they are separate from the user 
performances and user patches. 

* If you want to use these performances or patches in a different song, or 
without reference to a song, you'll need to save them in the user area. 

* Mastering Effect settings are not included in the data saved with a 
song. In order to completely reproduce the way in which the song 
played hack at the time it was saved, you will also need to check the 
mastering settings. 



Parameters included in System Setup 

• Sound generator mode (Patch /Performance) and Patch/ 
Performance numbers 

• MFX 1-3/Chorus/Reverb switch 

• Transpose and Octave Shift values 

• The selection of the function controlled by D Beam 

• All settings in the Arpeggio screen and the Arpeggio on/off 
setting 

• AU settings in the Rhythm Group screen and the Rhythm 
Pattern on/off setting 

• All settings in the Chord Memory screen and the Chord 
Memory on/off setting 

Saving a Song v^ith Samples 
(Save Song+Smpls) 

Here's how to save the Temporary Song along with all samples in 
sample memory and the current sound generator settings. 



1. 



From the SAVE/LOAD MENU screen, press [Fl (1)]. 

The SONG FILE NAME screen appears. 

Assign a file name to the song (up to 8 characters). A file 
name extension of ".SVQ" will automatically be added to 
the song. 



[3I> 

For details on assigning names, refer to p. 24. 

Song file names may not contain lowercase characters or certain 
symbols (space, "* + ,./:;< = >?[\] I). 

3. After you have assigned a name, press [F6 (WRITE)]. 

The SAVE SONG screen appears. 

4. Press [Fl (USER)] (User memory) or [F2 (CARD)] (Memory 
card) to select the location where you want to save the 
song. 

5. Press [F6 (SAVE)]. 

A message will ask you for confirmation. 

6. Press [F6 (EXEC)] to execute. 

* To cancel, press [F5 (CANCEL)]. 



(MEMO) 

A song file having the same name, but with an extension of 
".SVA" will also be saved at the same time. 



When samples are saved, they will automatically be overwritten onto 
the same numbers of the same bank in the sample list. The samples will 
be saved with a file name of "smpl****.wav (aif)" in the "ROLAND/ 
SMPL" folder of user memory or memory card. The number of the file 
name will correspond to the number in the sample list. 




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Saving/Loading a Song (Save/Load) 



File Name and Song Name 

Song Files and Standard MIDI Files have a song name in 
addition to a file name. The file name is used to distinguish 
between files, and must be assigned when you save a file. It will 
help you manage songs if you use the file name to distinguish 
between types of song, and use the song name to assign a title. 
Use the SONG NAME screen (p. 103) to assign a song name. 



If you assign a file name that is identical to a file name already 
existing in the user area or memory card, and attempt to save, a 
message of "File "****" Already Exists! Overwrite Sure?" will 
appear, asking you for confirmation. If it is OK to overwrrite the 
existing file, press [F6 (EXEC)]. If you decide to cancel the Save 
operation, press [F5 (CANCEL)]. 

If you attempt to save data on a memory that was not formatted 
by the JUNO-G, a message of "Unformatted!" (memory card 
has not been formatted) will appear. Please format the memory 
card on the JUNO-G (p. 164). 



Saving a Song (Save Song) 

Here's how to save the Temporary Song with the current sound 
generator settings. 

1 . From the SAVE/LOAD MENU screen, press [F2 (2)]. 

The SONG FILE NAME screen appears. 

2. Assign a file name to the song (up to 8 characters). A file 
name extension of ".SVQ" will automatically be added to 
the song. 

For details on assigning names, refer to p. 24. 

CEm 

Song file names may not contain lowercase characters or certain 
symbols (space, "* + ,./:;< = >?[\] I). 

3. After you have assigned a name, press [F6 (WRITE)]. 

The SAVE SONG screen appears. 

4. Press [F1 (USER)] (User memory) or [F2 (CARD)] (Memory 
card) to select the location where you want to save the 
song. 

5. Press [F6 (SAVE)]. 

A message will ask you for confirmation. 

6. Press [F6 (EXEC)] to execute. 

* To cancel, press [F5 (CANCEL)]. 



(MEMO) 

A song file having the same name, but with an extension of 
".SVA" will also be saved at the same time. 



Even if you save your song using "Save," it cannot be played 
back by a sequencer other than the JUNO-G's song recorder. 
If you want to play back the song's MIDI track on a sequencer 
other than the JUNO-G, save the song as an SMF file. Also at 
this time, you must record the appropriate bank selects and 
program numbers so that the correct sounds will be played. 
The performance settings will be saved in the state they were in 
when you executed Save. This means that if the performance 
changed during the song, and you saved the song in that state 
when you finished recording, the state in which recording 
began will not be saved. In other words when you play back the 
song from the beginning, it will begin with the performance 
sounds that were being used at the point where you saved. If 
you change the performance during the song, you must use the 
Microscope screen etc. to insert the appropriate bank select and 
program number at the beginning of the song to specify the 
performance with which you began recording it. 



Saving Samples (Save all Samples) 

Here's how to save all samples from sample memory into user 
memory or a memory card. 

1 . From the SAVE/LOAD MENU screen, press [F3 (3)]. 

A message will ask you for confirmation. 

2. Press [F6 (EXEC)] to execute. 

* To cancel, press [F5 (CANCEL)]. 

When samples are saved, they wrill automatically be overwritten 
onto the same number of the same bank in the sample list. 



Saving a Song as an SMF 
File (Save as SMF) 



Here's how to convert the MIDI track data of the temporary song 
into an SMF file and save it. 

1 . 1 . In the MIDI TRACK screen, hold down [SHIFT] and press 
[F6 (UTILITY)]. 

2. Press [F5 (SAVE AS SMF)]. 

The SAVE AS SMF screen appears. 

3. Assign a file name to the song. 



For details on assigning names, refer to p. 24. 

Song file names may not contain low^ercase characters or certain 
symbols (space, "* + ,./:;< = >?[\] I). 

4. After you have assigned a name, press [F6 (WRITE)]. 

5. Press either [F1 (USER)] (user memory) or [F2 (CARD)] 
(memory card) to select the save-destination. 




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(^ 



Saving/Loading a Song (Save/Load) 



6. Press either [F3 (FMT 0)] or [F4 (FMT 1 )] to select the format 
for saving. 

• FIVIT (Format 0): 

Convert the song to a Format Standard MIDI File (all 
performance data is saved in one phrase track) and save it to 
disk. An extension of ".MID" will be added automatically. 

• FIVIT 1 (Format 1): 

Convert the song to a Format 1 Standard MIDI File 
(performance data is saved in more than one phrase track) and 
save it to disk. An extension of ".MID" will be added 
automatically. 

7. Press [F6 (SAVE)]. 

A message will ask for confirmation. 

8. Press [F6 (EXEC)] to execute. 

• To cancel, press [F5 (CANCEL)]. 

The filename extension will be ".MID" whether you select "Save 
SMF (Format 0)" or "Save SMF (Format 1)." The two cannot be 
distinguished in this way. 

When you save data in SMF format, the sound setup data will 
not be saved. In order to ensure that the correct sounds are 
played, you must record the appropriate bank select and 
program numbers. 

dmi 

The audio track data is not saved when you save the song in 
SMF format. 



If you assign a file name that is identical to a file name already 
existing in the user area or memory card, and attempt to save, a 
message of "File "****" Already Exists! Overwrite Sure?" will 
appear, asking you for confirmation. If it is OK to overwrite the 
existing file, press [F6 (EXEC)]. If you decide to cancel the Save 
operation, press [F5 (CANCEL)]. 

If you attempt to save data on a memory that was not formatted 
by the JUNO-G, a message of "Unformatted!" (memory card 
has not been formatted) will appear. Please format the memory 
card on the JUNO-G (p. 164). 



Loading a Song (Load) 



Basic Procedure 

1 . Hold down [SHIFT] and press [WRITE]. 

The SAVE/LOAD MENU screen appears. 



tIJBftHJildim - 



SaveSong+SmpIs 



rLoadSong+SmpIs 



Save Song 



Load Song 



Save all Samples "■ Load all Samples 



2. 



Press [F4 (4)]-[F6 (6)] to select the format in which you want 
to load the song. 

4. Load Song+Smpis: 

Loads a song into Temporary Area. All samples will be loaded 
into sample memory. 

5. Load Song: 

Loads a song into Temporary Area. 

6. Load all Samples: 

Loads all samples into sample memory. 



Function 



Button 



Load Song+Smpls 
Load Song 
Load all Samples 



[F4] 
[F5] 
[F6] 



Song 



ALL Samples 



• 
• 



^: Loading is possible 

* A song saved on the JUNO-G (.SVQ) also includes the data for the 
sound generator's temporary area. 



Loading a Song v^ith Samples 
(Load Song+Smpls) 

Here's how you can load a song into Temporary Area and all 
samples into sample memory. 

1 . From the SAVE/LOAD MENU screen, press [F4 (4)]. 

The SONG LIST screen appears. 

* Alternatively, press EDIT [SONG] to access the SONG LIST screen. 
This button is pressed to toggle between the SONG LIST screen and 
the MIDI TRACK screen. 

* By pressing ]^] l^] in the above screen, you can specify the type of 
songs that will be displayed. If various types of songs are saved 
together, it will be easier to find the desired song if you restrict the 
displayed file types in this way. 

ALL: all songs will be displayed 

SVQ: Only the SVQ song files are displayed 

SMF: only Standard MIDI Files will be displayed 

2. Press either [F1 (USER)] (User memory) or [F2 (CARD)] 
(Memory card) to select the load-destination, and use [^ 
[•wl to select a song. 




115 




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Saving/Loading a Song (Save/Load) 



3. Press [F6 (LOAD)]. 

A message wrill ask you for confirmation. 

4. Press [F6 (EXEC)] to execute. 

* To cancel, press [F5 (CANCEL)]. 

Loading a song (Load Song) 

Here's liow you can load a song into Temporary Area. 

1 . From the SAVE/LOAD MENU screen, press [F5 (5)]. 

Tfie SONG LIST screen appears. 

* Alternatively, press EDIT [SONG] to access the SONG LIST screen. 
This button is pressed to toggle between the SONG LIST screen and 
the MIDI TRACK screen. 

* By pressing [^] f ^] in the above screen, you can specify the type of 
songs that will be displayed. If various types of songs are saved 
together, it will be easier to find the desired song if you restrict the 
displayed file types in this way. 

ALL: all songs will be displayed 

SVQ: Only the SVQ song files are displayed 

SMF: only Standard MIDI Files will be displayed 

2. Press either [F1 (USER)] (User memory) or [F2 (CARD)] 
(Memory card) to select the load-destination, and use [^ 
[w] to select a song. 

3. Press [F6 (LOAD)]. 

A message mil ask you for confirmation. 

4. Press [F6 (EXEC)] to execute. 

* To cancel, press ]F5 (CANCEL)]. 

Loading Samples (Load all 
Samples) 

Here's how you can load all samples from user memory or memory 
card into sample memory. 

1 . From the SAVE/LOAD MENU screen, press [F6 (6)]. 

A message will ask you for confirmation. 

2. Press [F6 (EXEC)] to execute. 

* To cancel, press ]F5 (CANCEL)]. 



Deleting a Song (Delete Song) 

Here's how to delete a previously saved song from user memory or 
the memory card. 

1 . From the SAVE/LOAD MENU screen, press [F5 (5)]. 

The SONG LIST screen appears. 

* You can also access the SONG LIST screen by pressing EDIT 
[SONG]. This button is pressed to toggle between the SONG LIST 
screen and the MIDI TRACK screen. 

* By pressing ]^] [^[ in the above screen, you can specify the type of 
songs that will be displayed. If various types of songs are saved 
together, it will be easier to find the desired song if you restrict the 
displayed file types in this way. 

ALL: all songs will be displayed 

SVQ: Only the SVQ song files are displayed 

SMF: only Standard MIDI Files will be displayed 

2. Press either [F1 (USER)] (User memory) or [F2 (CARD)] 
(Memory card) to select the delete-destination, and use [.▲] 
[•w\ to select a song. 

3. Press [F4 (DEL SONG)]. 

A message will ask you for confirmation. 

4. Press [F6 (EXEC)] to execute. 

* To cancel, press [F5 (CANCEL)]. 




116 




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Editing a Audio Phrase (Sample) 




Audio phrases you record or import are saved and managed as 
editable samples. 

Editing is performed in sample memory — a memory area dedicated 
to samples (p. 22). 



Sample List 



Select a sample from the list. 

Selecting a Sample 

1 . Press EDIT [AUDIO]. 

The SAMPLE EDIT screen appears. 

2. Press [F4 (LIST)] to access the SAMPLE LIST screen. 

* Pressing [AUDIO] toggles you between the SAMPLE EDIT screen 
and the SAMPLE LIST screen. 

3. Press [^] [^] to select the group that contains the desired 
sample. 

• PRST: preset samples 

• USER: user samples 

• CARD: samples stored on a memory card 

* You cannot edit preset samples. 

4. Use the VALUE dial, [INC] [DEC], or [.a.] [▼'] to select a 
sample. 

* You can press [F6 (PREVIEW)] to audition the selected sample. 

5. Press [F4 (EDIT)] or [ENTER]. 

The SAMPLE EDIT screen appears. 



The sample list shovs^s the current state of 
the samples. 



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ceeei lp 
ceoez 



ceees 

ceee4 

ceees card aaas 

ceeee 

ceeoT csra aaa7 

ceees 



vsmj sszv B 

M^-' 765kB 



MJJIliMMitMiWKMJ1^13I^"inn>'™i33=illMil 
N (New): Audio-recorded samples. It mil be lost wrhen you 
turn off the power. The same is true for samples 
imported as WAV/AIFF. 
U (Unload): The sample has been saved, but not loaded into 

sample memory. 
E (Edit): The loaded or audio-recorded sample has been 
edited. Your edits will be lost when you turn off 
the power. If you want to keep them, you must 
Write the sample. Save this data as necessary. 
If Load User Samples at Startup (p. 158) is turned off, samples 
will not be loaded into memory when you turn on the power. In 
this case, you will need to load samples into memory yourself. 
If you have unload a sample from sample memory, you will 
also need to load it again before you can re-select that sample. 



Loading a Sample 



Here's how you can load a sample from the user area, a memory 
card, or a preset into sample memory. 

1 . Press EDIT [AUDIO]. 

The SAMPLE EDIT screen appears. 

2. Press [F4 (LIST)] to access the SAMPLE LIST screen. 

* Pressing ] AUDIO] toggles you between the SAMPLE EDIT screen 
and the SAMPLE LIST screen. 

3. Press [^] [^] to select the group that contains the desired 
sample. 

4. Use the VALUE dial, [INC] [DEC], or [.a.] [▼] to select a 
sample. 

If you want to load iv/o or more samples, press [F2 (MARK)] to 
add a check mark (^) to the samples that you want to select. 
To remove the check mark from a selected sample, select and 
press [F2 (MARK)] again. 

If you hold down [SHIFT] and press [F4 (SET ALL)], a check 
mark will be added to all samples of the selected group. 
If you hold down [SHIFT] and press [F3 (CLR ALL)], check 
marks will be removed from all selected samples. 

5. Press [F5 (UTILITY)], and then press [F5 (LOAD)]. 

A message mil ask you for confirmation. 

6. Press [F6 (EXEC)] to load the sample. 

To cancel, press [F5 (CANCEL)]. 

* You can also perform this operation from the SAMPLE LIST or SAMPLE 
EDIT screen by pressing IMENU] and selecting "Load Sample. " 



Loading all Samples 



Here's all samples in the user memory and memory card can be 
loaded. 



1. 
2. 



CEm 

When you execute Load All Samples, all unsaved samples 
will be erased. 

If the total size of the data in the user memory and card memory 
exceeds the size of memory, the samples of the user memory will be 
loaded first. At this time, as many card memory samples as possible 
will be loaded, starting from the lowest-numbered sample. 

From the SAMPLE LIST screen, press [F5 (UTILITY)]. 

Press [F2 (LOAD ALL)]. 

A message mil ask you for confirmation. 



3. Press [F6 (EXEC)] to execute. 

To cancel, press [F5 (CANEL)] . 

* You can also perform this operation from the SAMPLE LIST screen 
by pressing ]MENU] and selecting "3. Load All Samples." 



■# 



117 




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Editing a Audio Phrase (Sample) 



Unloading a Sample 



Here's howr you can unload a sample from sample memory. The 
saved sample file itself will not be deleted. 

1 . With the SAMPLE LIST screen shown, press [^] [^] to 
select the group that contains the sample you want to 
erase. 

2. Use the VALUE dial, [INC] [DEC], or [▲] [-w] to select a 
sample. 

If you want to unload two or more samples, press [F2 (MARK)] 
to add a check mark (t/') to the samples that you want to select. 
To remove the check mark from a selected sample, select and 
press [F2 (MARK)] again. 

If you hold down [SHIFT] and press [F4 (SET ALL)], a check 
mark will be added to all samples of the selected group. 
If you hold down [SHIFT] and press [F3 (CLR ALL)], check 
marks will be removed from all selected samples. 

3. Press [F5 (UTILITY)], and then press [F4 (UNLOAD)]. 

A message will ask you for confirmation. 

4. Press [F6 (EXEC)] to unload the sample. 

To cancel, press [F5 (CANCEL)]. 

* You can also perform this operation from the SAMPLE LIST or SAMPLE 
EDIT screen by pressing [MENU] and selecting "Unload Sample." 

Deleting a Sample 

Here's how to completely delete a sample file. 

* You cannot delete the preset samples. 

1 . With the SAMPLE LIST screen shown, press [^] [^] to 
select the group that contains the sample you want to 
delete. 

2. Use the VALUE dial, [INC] [DEC], or [.a.] [-▼'] to select a 
sample. 

If you want to delete two or more samples, press [F2 (MARK)] 
to add a check mark (•) to the samples that you want to select. 
To remove the check mark from a selected sample, select and 
press [F2 (MARK)] again. 

If you hold down [SHIFT] and press [F4 (SET ALL)], a check 
mark will be added to all samples of the selected group. 
If you hold down [SHIFT] and press [F3 (CLR ALL)], check 
marks will be removed from all selected samples. 

3. Press [F5 (UTILITY)], and then press [F3 (DELETE)]. 

A message will ask you for confirmation. 

4. Press [F6 (EXEC)] to delete the sample. 

To cancel, press [F5 (CANCEL)]. 

* You can also perform this operation from the SAMPLE LIST or 
SAMPLE EDIT screen by pressing [MENU] and selecting "Delete 
Sample Pile. " 



importing an Audio File 
(import Audio) 



Here's how an audio file (WAV/AIFF) can be loaded into memory 
as a sample. 



1. 



2. 



Place the audio files you want to import into the JUNO-G as 
samples in user memory or in the "TMP/AUDIO_IMPORT" 
folder of the memory card. 



For details on hovj you can use your computer to copy files to 
user memory or to a memory card, refer to p. 167. 

From the SAMPLE LIST screen, press [F5 (UTILITY)] and 
then press [F1 (IMPORT AUDIO)]. 

The IMPORT AUDIO screen appears. 

You can obtain the same result by pressing [MENU] and selecting "5. 
Import Audio. " 

Press [F1 (USER)] or [F2 (CARD)] to select the import- 
source area. 

[Fl (USER)]: Import from the user memory 
[F2 (CARD)]: Import from the memory card 

Press [^ ["w] to select the file that you want to import. 

If you want to select two or more files, press [F3 (MARK)] to 

add a check mark (•) to the files that you want to select. 

To remove the check mark from a selected file, select and press 

[F3 (MARK)] again. 

If you press [F5 (SET ALL)], a check mark mil be added to all 

files of the selected folder. If you press [F4 (CLR ALL)], check 

marks will be removed from all selected files. 



5. Press [F6 (IMPORT)]. 

A message will ask you for confirmation. 

6. Press [F6 (EXEC)]. 

The file will be imported, and the SAMPLE LIST screen will 
appear. 

* To cancel, press [F5 (CANCEL)[. 

The imported file will be added to the sample list as a sample. 
This sample is temporary, and will be lost when you turn off the 
power. If you want to keep it, press [WRITE] to save the data. 




118 




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Editing a Audio Phrase (Sample) 



Sample Edit 



1 . Press EDIT [AUDIO]. 

The SAMPLE EDIT screen appears. 



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Start 



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End 000100604 
Loop Mode FWD 
Tempo J=104.0O 
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• If you're in the SAMPLE LIST screen, press [F4 (EDIT)]. You can 
also alternate between the SAMPLE LIST screen and the SAMPLE 
EDIT screen by pressing [AUDIO]. 

Samples that you edit will be lost when you turn off the power. 
If you want to keep them, you must Save them (p. 124). 

Magnifying/Shrinking the 
Waveform Display (Zoom in/Out) 

Here's how to change the magnification of the sample display. 

• Horizontal axis (time axis): 1/1-1/65536 
Press [^] to increase the display magnification. 
Press [^] to decrease the display magnification. 

• Vertical axis (waveform amplitude axis): xl-xl28 
Hold down [SHIFT] and press [^] to increase the display 
magnification. 

Hold down [SHIFT] and press ['W] to decrease the display 
magnification. 

Setting the Start/End Points of the 
Sample 

You can specify the portion of the sample that will actually sound. 
You can also specify the region that is to be looped. 

1 • With the SAMPLE LIST screen shown, select the sample 
that you want to edit (p. 1 1 7). 

2. Press [F4 (EDIT)] or [ENTER] to access the SAMPLE EDIT screen. 

3* Use [^] ['w] to select the point that you want to set. 



Point 

Start 



Explanation 

Point at which playback will start 

Set this so that any unwanted portion at the beginning of 
the sample will be skipped, and the sound will begin at 
the desired moment. 



Loop Start Point at which loop playback (second and subsequent 

times) will start 

Set this if you want to loop the sound from a point other 

than the start point. 
* This is useful when you're using a sample as a sample patch 

or as the waveform for a patch or rhythm set. 

End Point at which playback will end 

Set this so that any unwanted portion at the end of the 
sample will not be heard. 

By pressing [F6 (PREVIEW)] you can audition the region between 



Start and End. 

Use the VALUE dial or [INC] [DEC] to move the point. 

You can move the point in units of one beat by pressing [Fl (^)] 
or [F2 (►)]. 



(MEMO) 

If you hold down [F6 (PREVIEW)] and move Start/Loop Start/ 
End, the sample will play repeatedly across that point. This is a 
convenient way to check your setting. 

(Zooming-in or zooming-out on the waveform will change the 
region that loops.) 



[3:> 

After specifying Start and End, you can execute Truncate (p. 
120) to delete unwanted portions at the beginning and end of 
the sample. 

* Sample modify operations (Chop, Normalize, etc.) apply to the entire 
sample. Even if you specify Start or End, they will be ignored. If you 
want to apply the operation only to the region between the Start and 
End, use Truncate to delete unwanted portions of the sample, and then 
perform the sample modifying operation. 

Using the knobs to edit the points 

You can use the SOUND MODIFY 1-i knobs to edit each point. Using the 
knobs is convenient when you need to make large changes to the value. 
From the left, the knobs have the following functions. 

Q : Start Point U\ : Loop Start El : End Point 

pi : Zoom-in/zoom-out the horizontal axis of the display 

Making Settings for Sample 
(Sample Parameters) 

Here you can make various settings for the sample. 

1 . With the SAIVIPLE LIST screen shown, select the sample 
that you want to edit. 

2. Press [F4 (EDIT)] or [ENTER] to access the SAMPLE EDIT screen. 

3. Press [^ [w] to select a parameter. 

4. Use the VALUE dial or [INC] [DEC] to edit the value. 

5. Press [EXIT] when you are finished. 



Parameter 


Explanation 


Start 


Refer to Setting the Start/End Points of the Sample (p. 

119). 


Loop Start 


End 




119 




JUNO-G_e.book 120 '^-y 2006^2^130 ^BIB ^<ft2a$445j- 



4^ 



Editing a Audio Phrase (Sample) 



Parameter 



Loop Mode 




Tempo 



Loop End 
Fine 

Loop Tmie * 



Zoom Horz 



Zoom Vert 



Explanation 



Specifies how the sample will be played. 

* When you use a sample in an audio track, it will play as ONE- 
SHOT regardless of this setting. 
FWD: 

After the Sample played back from Start to End, it will 
then be repeatedly played back in the forward direction, 
from the Loop Start to End. 



Start P. 



Loop 
Start P. 



> 



ONE-SHOT: 

The sample will be played back only once, from the Start 
to End. 

Loop 
Start P Start P End P 



> 



REV: 

When the sample has been played back from End to 
Start, it will be repeatedly played back in the reverse di- 
rection, from Loop Start to Start. 

Loop 
Start P Start P End P 



* 



REV-ONE: 

The sample will be played back only once from End to 
Start in the reverse direction. 

Loop 
Start P Start P End P 



Original tempo of the sample 

You can hold down [SHIFT] and use the VALUE dial or 
[INC] [DEC] to adjust the value to the right of the deci- 
mal point. 
5.00-300.00 

* In order to synchronize the tempo, Wave Temp Sync (p. 38, p. 
53) must be turned ON. 



Org Key* 


Note number tliat will play the sample at the pitch at which 
it was sampled 
0(C-)-127(G9) 


Time 
Stretch 


Specifies how the tempo will be synchronized. 

Decreasing this value will optimize the sound for more 
rapid phrases, and increasing this value will optimize 
the sound for slower phrases. 
TYPE01-TYPE10 


Start Fine 


Fine adjustment of the Start point 
0-255 


Loop Start 
Fine* 


Fine adjustment of the Loop Start point 
0-255 



Fine adjustment of the End point 
0-255 

Pitch of the loop region 

Make fine adjustments in one-cent (1/100 semitone) in- 
crements. 
-50- +50 

Display magnification (horizontal axis) 
1/1-1/16384 



Display magnification (vertical axis) 
X1-X128 



Automatically calculating a sample's 
tempo 

1 . Move the cursor to "Tempo" and press [FI(CALC)]. 

The BPM Calculator window appears. 

* You wiU always be able to select [Fl (CALC)] if the cursor is located 
somewhere other than Start, Loop Start, or End. 

2. Use [^] ['wl [^] [^] to move the cursor, and use the 
VALUE dial or [INC] [DEC] to specify the number of 
measures in the sample and its time signature. 

3. Press [F3 (EXEC)]. 

The sample's tempo will be calculated automatically. 

* To cancel, press [Fl (CLOSE)]. 



About the beat 

Samples contain beat data. Up to 100 beat locations are specified 
for one sample. If the sample contains more than 100 beats, fifty 
beat locations will be specified from the beginning and end of 
the sample, respectively. 



When you v\^ant to reset the beat 
indication (Reset Grid function) 

You can reassign the sample grid according to the specified Start 
point and Tempo. 

1 . In the SAMPLE EDIT screen, specify the Start point and 
Tempo of the sample. 

2. Press [F5 (UTILITY)], and then press [Fl (RESET GRID)]. 

A message mil ask you for confirmation. 

3. Press [F6 (EXEC)] to execute. 

To cancel, press [F5 (CANCEL)]. 

Removing Unvs^anted Portions of a 
Sample (TRUNCATE) 

This operation cuts the portions of the sample that are earlier than 
the Start Point and later than the Loop End Point. 

* You cannot execute this with more than one sample selected. 

1 . In the SAMPLE EDIT screen, specify the Start/End points of 
the sample (p. 119). 

2. Press [F3 (MODIFY)] to open the Sample Modify Menu window. 

3. Press [Fl (TRUNC&EMPHS)], and then press [Fl (TRUNC)]. 



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If you want to replace the current sample with the truncated 
sample, press [F4 (OVER WRITE)] to display the "•" mark. 



120 



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JUNO-G_e.book 121 '^-y 2 00 6^2^130 ^BIH ^lS2a$4 45J- 



Editing a Audio Phrase (Sample) 



5. Press [F6 (EXEC)]. 

A message will ask you for confirmation. 

6. To execute, press [F6 (EXEC)]. 

* To cancel, press [F5 (CANCEL)]. 

Boosting or Limiting the High- 
frequency Range of the Sample 
(EMPHASIS) 

In some cases, the audio quality will be improved if you boost the 
high-frequency range of an imported sample. Also, the high- 
frequency range of the sample may be emphasized when you use a 
sampler made by another manufacturer. In this case, you can 
minimize the change in tonal character by attenuating the high- 
frequency range. 

* You cannot execute this with more than one sample selected. 

1 . In the SAMPLE EDIT screen, press [F3 (MODIFY)] to open 
the Sample Modify Menu window. 

2. Press [F1 (TRUNC&EMPHS)], and then press [F2 (EMPHS)]. 



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3. Use the VALUE dial or [INC] [DEC] to select the emphasis 
type. 

PreEmphasis: Emphasizes the high-frequency range. 
DeEmphasis: Attenuates the high-frequency range. 

4. If you want to replace the current sample with the 
emphasized sample, press [F4 (OVER WRITE)] to display 
the "•" mark. 

5. Press [F6 (EXEC)]. 

A message will ask you for confirmation. 

6. To execute, press [F6 (EXEC)]. 

* To cancel, press [F5 (CANCEL)]. 

Maximizing the Volume of a 
Sample (NORMALIZE) 

This operation raises the level of the entire sample as much as 
possible without exceeding the maximum level. It is a good idea to 
boost the volume by executing the Normalize operation. 

* You cannot execute this with more than one sample selected. 

1 . In the SAMPLE EDIT screen, press [F3 (MODIFY)] to open 
the Sample Modify Menu window. 

2. Press [F2 (NORM & AMP)], and then press [F1 (NORM)]. 



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3. If you want to replace the current sample with the 
normalized sample, press [F4 (OVER WRITE)] to display the 
"•" marl<. 

4. Press [F6 (EXEC)]. 

A message will ask you for confirmation. 

5. To execute, press [F6 (EXEC)]. 

* To cancel, press ]F5 (CANCEL)]. 

AMP 

This operation adjusts the volume of the entire sample. You can also 
apply an envelope (time-variant change) to the volume of the sample. 

* You cannot execute this with more than one sample selected. 



1. 



In the SAMPLE EDIT screen, press [F3 (MODIFY)] to open 
the Sample Modify Menu window. 

Press [F2 (NORM & AMP)], and then press [F2 (AMP)]. 

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3. If you want to adjust the volume of the entire sample, use the 
VALUE dial or [INC] [DEC] to set the rate of volume boost. 



Parameter 

Rate 



Explanation 

Rate of volume boost: 0-400% 

Specifies how much boost will be applied relative to the 
current volume 



4. If you want to apply an envelope, specify points. 

Press [F3 (POINT)] to display the "•" marl<. Then press [.^] 
[•wl to select a parameter, and then use the VALUE dial or 
[INC] [DEC] to set the value. 



Parameter 


Explanation 


Current 
Point 


Currently selected point 

Beginning near the start point, the points will be num- 
bered 1, 2, 3, or 4. 


Point 1-4 


Location of the current point 


Rate 1-4 


Amplification ratio of the current point: 0-400% 

Specifies how the volume of each point is to be boosted 
relative to the current value. 



5. If you want to replace the current sample with the edited 
sample, press [F4 (OVER WRITE)] to display the "•" mark. 

6. Press [F6 (EXEC)]. 

A message will ask you for confirmation. 

7. To execute, press [F6 (EXEC)]. 

* To cancel, press ]F5 (CANCEL)]. 




121 




JUNO-G_e.book 122 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



Editing a Audio Phrase (Sample) 



Stretching or Shrinking a Sample 
(TIME STRETCH) 

This operation stretches or shrinks the sample to modify the length 
or tempo. You can stretch or shrink the sample by a factor of one half 
to double the original length. 

* You cannot execute this with more than one sample selected. 

1 . In the SAMPLE EDIT screen, press [F3 (MODIFY)] to open 
the Sample Modify Menu window. 

2. Press [F3 (TIME STRETCH)]. 

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3. Press [^ [■w] to select the parameter. 

4. Use the VALUE dial or [INC] [DEC] to specify the tempo/length. 

When setting the BPM (tempo) value, you can hold down 
[SHIFT] and turn the VALUE dial, or use [INC] [DEC] to adjust 
the value to the right of the decimal point. 
Parameter Explanation 



BPM 



Change the BPM of the sample to the BPM you specify. 



Time 



Specify the length of the sample as a time value. 



Rate 



Type 



Quality Adjust 



Specify the length relative to the current length of the 

sample. (50.0-200.0%) 

Lower settings of this value will make the sound more 

suitable for faster phrases, and higher settings will make 

the sound more suitable for slower phrases. 

(TYPE01-TYPE10) 

Make fine adjustments to the tonal quality of the Time 
Stretch. (1-10) 



5. Press [F6 (EXEC)]. 

A message will ask you for confirmation. 

6. To execute, press [F6 (EXEC)]. 

The length of the sample will be changed as specified. 

* To cancel, press [F5 (CANCEL)]. 

Dividing a Sample into Notes 
(CHOP) 

The chop function divides a sample waveform into separate notes. 

* You cannot execute this with more than one sample selected. 

1 . In the SAMPLE EDIT screen, press [F3 (MODIFY)] to open 
the Sample Modify IVIenu window. 

2. Press [F4 (CHOP)]. 



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3. Specify the point(s) at which the sample is to be divided. 

Refer to "Procedure for Dividing a Sample" or "Automatically 
Dividing a Sample (Auto Chop)" (p. 123). 

4. Audition the sample as described in the section 
"Auditioning the Divided Samples" (p. 123). 

If you want to re-make settings, move or delete the point (p. 123). 

5. Press [F6 (EXEC)]. 

A message will ask you for confirmation. 

6. To execute the division, press [F6 (EXEC)]. 

The divided samples will be added to the sample list. 
* To cancel, press [F5 (CANCEL)]. 

When you execute the Chop operation, a message will ask 
whether you want to execute Create Rhythm. 



Create Rhythm 

This creates a rhythm set using the samples that were divided 
by the Chop operation, and assigns it to a part. The samples are 
assigned successively starting at the C2 key. 

7. To execute Create Rhythm, press [F6 (EXEC)]. 

The Create Rhythm window opens. 

* To cancel, press ]F5 (CANCEL)]. 

8. 8. Use [.▲] [-w] to select the part to which you want to 
assign the rhythm set, and press [F6 (SELECT)]. 

A message will ask you for confirmation. 

* You can't select a part in Patch mode. 

9. To execute, press [F6 (EXEC)]. 

The samples will be assigned to the selected part as a rhythm set. 

* To cancel, press ]F5 (CANCEL)]. 

csm 

If you select a different rhythm set, the rhythm set to which the 
samples are assigned will disappear. If you want to keep this 
rhythm set, press [WRITE] to save it. (p. 124) 

Procedure for Dividing a Sample 

You can freely specify the dividing point(s). 

1 . Press [.▲] ['^] to move the cursor to "Current Address." 

2. Use the VALUE dial or [INC] [DEC] to move the point. 

3. At the location where you want to divide the sample, press 
[F2 (ADD)]. 

The current location will be the dividing point. 

4. Repeat steps 2 and 3 to specify other dividing points. 




122 




JUNO-G_e.book 123 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



(^ 



Editing a Audio Phrase (Sample) 



You can specify up to 15 dividing points; i.e., the sample will be 
divided into a maximum of 16 pieces. 

Automatically Dividing a Sample (Auto 
Chop) 

Here's hov/ you can automatically specify the points at which the 
sample is to be divided, and then divide the sample. 

1 . From step 3 of p. 1 22, press [F4 (AUTO)]. 

The Auto Chop window will appear. 

2. Use the VALUE dial or [INC] [DEC] to select the method by 
which the sample is to be divided. 

3. Press [-w] and then use the VALUE dial or [INC] [DEC] to 
set the value. 

Parameter Explanation 



Chop Type 



How the sample will be divided 
Level: Divide according to volume. 
Beat: Divide at beats based on the Tempo (p. 120) of the 
sample. 
Divide x: Divide into 'x' number of equal lengths. 



If Chop Type is Level 



Level 



Level at which the sample is to be divided 

Lower settings of this value will cause the sample to be di- 
vided more finely. 
1-10 



If Chop Type is Beat 



Beat 



Beat interval at which the sample is to be divided 
1/32, 1/16T, 1/16, 1/8T, 1/8, 1/4T, 1/4, 1/2, 1/1, 2/1 



If Chop Type is Divide x 



Times 



Number of samples into which the sample is to be divided 
2-16 



4. Press [F6 (EXEC)]. 

The sample will be automatically divided according to your 
settings, and the points will be specified. A maximum of 15 
division points will be set (16 regions). 

* To cancel, press [F5 (CANCEL)]. 

Moving/Deleting a Dividing Point 

1 . Press [^ [^ to move the cursor to "Point No." 

2. Use the VALUE dial or [INC] [DEC] to select the point that 
you want to move or delete. 

In order from the start point, the points are numbered 1, 2,. ..15. 

3. To move the dividing point, press ["w] and then turn the 
VALUE dial. 

4. To delete the dividing point, press [F3 (CLEAR)]. 

Auditioning the Divided Samples 

1 . Press [.a] ["w] to move the cursor to "Point No." 

2. Use the VALUE dial or [INC] [DEC] to select the point that 
you want to audition. 

In order from the start point, the points are numbered 1, 2,. ..15. 

3. Press [F4 (PREVIEW)]. 



Joining T^vo or More Samples 
(COMBINE) 

This operation combines multiple samples into a single sample. You 
can combine as many as sixteen samples. You can also place silent 
spaces betwreen the samples. 

1 . In the SAMPLE EDIT screen, press [F3 (MODIFY)] to open 
the Sample Modify Menu window. 

2. Press [F5 (COMBINE)]. 



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3. Press [^ [^ [^] [^] to select a parameter. 

4. Use the VALUE dial or [INC] [DEC] to set the value. 



Parameter 

TYPE 



BANK 



PRM 



Explanation 

Sample or silence to be combined 
None: none 
Sample: sample 

Time: silent region (specified as time) 
Beat: silent region (specified as a note value) 

Bank that contains the sample 
U: user 
C: card 

* This will be displayed only if TYPE is set to Sample. 

Sample number, or the duration/note value of the silent re- 
gion 

The note value is based on the BPM of the sample imme- 
diately before the silent region. 

* If there is no sample immediately before the silent region, the 
current BPM will be used. 

If TYPE is set to Sample 

1-2000 
If TYPE is set to Time 

1-10000 ms 
If TYPE is set to Beat 

1/32, 1/16T, 1/16, 1/8T, 1/8, 1/4T, 1/4, 1/2, 1/1,2/1 



* You can press [F4 (PREVIEW)] to audition the selected sample. 

5. Press [F6 (EXEC)]. 

A message mil ask you for confirmation. 

6. To execute, press [F6 (EXEC)]. 

* To cancel, press ]F5 (CANCEL)]. 




123 




JUNO-G_e.book 124'^-y 2006^2^130 ^BIH ^lt2a$445j- 



Editing a Audio Phrase (Sample) 



Saving a Sample (Write) 



A edited sample, as well as any changes you've made in the settings 
for a sample will be lost as soon as you turn off the power. If you 
want to keep such data, you must save it as follows. 

1 . Access the SAMPLE LIST screen, (p. 1 1 7) 

Samples displayed as "N" or "E" have not yet been saved (p. 117). 

2. Select the sample that you want to save. 

If you want to select two or more samples, press [F2 (MARK)] to 
add a check mark (•) to the samples that you want to select. 
To remove the check mark from a selected sample, select and 
press [F2 (MARK)] again. 

If you hold down [SHIFT] and press [F4 (SET ALL)], a check 
mark will be added to all samples of the selected group. 
If you hold down [SHIFT] and press [F3 (CLR ALL)], check 
marks will be removed from all selected samples. 

3. Press [WRITE]. 

The WRITE MENU screen will appear. Make sure that 
"Sample" is highlighted. 



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4. Press [F3 (SAMPLE)] or [ENTER]. 



If you have selected more than one sample, a message will ask 
you to confirm the writing operation. Samples will be written 
into the identical number corresponding to each bank of the 
sample list. Sample names will be assigned automatically. If 
you want to write the samples, press [F6 (EXEC)]. If you decide 
to cancel, press [F5 (CANCEL)]. 



5. Assign a name to the sample. 



For details on assigning names, refer to p. 24. 

6. When you have finished inputting the name, press [F6 (WRITE)]. 

A screen will appear allowing you to select the write- 
destination sample. 




7. Use the VALUE dial, [INC] [DEC], or [.a.] [-▼'] to select the 
write destination sample number. 

The write destination can be either the JUNO-G's internal user 
memory (User), or a memory card (Card). 



8. Press [F6 (WRITE)]. 

A message mil ask you for confirmation. 

9. Press [F6 (EXEC)] to execute the save operation. 

• To cancel the operation, press [F5 (CANCEL)]. 

Never switch off the JUNO-G while data is being saved. 

• You can't save by overwriting another sample. 

• Stereo samples must be saved to two consecutive sample 
numbers. 




124 




4^ 



JUNO-G_e.book 125 '^-y 2006^2^130 ^BIB ^<ft2a$445j- 




Adding Effects 




This section explains the procedures and settings for applying effects 
in each mode. 



[7f7> 

For details of the JUNO-G's onboard effects, refer to About the 
Onboard Effects (p. 20). 



Turning Effects On and Off 



The JUNO-G's onboard effects can be turned on/off as a whole. 
Turn these settings OFF when you wish to listen to the unprocessed 
sound as you create a sound, or when you wish to use external 
effects processors instead of the built-in effects. 

* Effect ON/OFF settings are global ]UNO-G settings. These settings 
cannot be made for each Patch or Performance individually. 



1. 



Press EDIT [EFFECTS] to access the EFFECT ROUTING 
screen. 



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Press [F6 (SWITCH)]. 

The EFFECT SWITCH window appears. 



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3. Press [F1 (MFX1 )]-[F6 (MASTER)] to turn each effect switch 
on/off. 

The switch will turn on/off each time you press the button. 

4. Press [EXIT] to return to the previous screen. 

When you return to the PLAY screen, the settings will be 
displayed in the following area. 



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Making Effect Settings 



1 . In the appropriate mode, select the sound to which you 
want to apply effects. 

2. Press EDIT [EFFECTS] to access the EFFECT ROUTING 
screen. 

3. Press [F1 (R0UTING)]-[F5 (MASTER)] to select the effect 
that you want to edit. 

4. Use the VALUE dial or [INC] [DEC] to set the effect type you 
want. 



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5. Use [.▲] [^ [^] [^] to move the cursor to the parameter 
you wish to change. 

6. Use the VALUE dial or [INC] [DEC] to get the value you 
want. 

7. Press [EXIT] to return to the previous screen. 

* You cannot edit the effect settings for patches of the GM group. 



■# 



125 




JUNO-G_e.book 126 '^-y 2006^2^130 ^BIB ^<ft2B$445J- 



4^ 



Adding Effects 



Applying Effects in Patch Mode 



In Patch mode you can use one multi-effect (MFX), one chorus, and one reverb. 



Specifying Hovs^ the Sound Will Be Output (Routing) 

Here you can make overall settings for effects, and the output destination and level of each signal. 



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For details on these settings, refer to Making Effect Settings (p. 125). 






Parameter 


Value 


Explanation 


o 


Tone Select 


1-4 (A0-C8) 


Tone (or rhythm tone) for which you want to make settings 


(Rhythm Key Se- 




This parameter is Rliythm Key Select when a rhythm set is being selected. You can select the rhythm tone (AO- 




lect) 




C8) for which you want to make settings. 


o 


Tone Output 
Level 


0-127 


Level of the signal sent to the output destination specified by Output Assign 


e 


Tone Chorus 


0-127 


Level of the signal sent to chorus for each tone 


Send Level 






o 


Tone Reverb 


0-127 


Level of the signal sent to reverb for each tone 


Send Level 









MFX Type 


0-78 


Selects from among the 78 available multi-effects. 






For details on multi-effects parameters, refer to Multi-Effects Parameters (p. 131). 


o 


Patch Output 


MFX, 


Specifies how the direct sound of each patch will be output. 


Assign 


A, B, 


MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes 




(Rhythm Output 


1-4, 


through multi -effects. 




Assign) 


TONE 


A, B: Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects. 

1—4: Output to the INDIVIDUAL 1^ jacks in mono without passing through multi-effects. 

TONE: Outputs according to the settings for each tone. 
This parameter is Rhythm Output Assign when a rhythm set is being selected. You can specifies for each rhythm set 
how the direct sound will be output. 
* If the Mix/PamlM parameter is set to "MIX," all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). 


Tone Output As- 


MFX, A, B, 1-4 


Specifies how the direct sound of each tone will be output. 




sign 




MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes 
through multi-effects. 

A, B: Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects. 
1—4: Output to the INDIVIDUAL 1^ jacks in mono without passing through multi-effects. 

* IftJie Patch Output Assign is set to anything other than "TONE," these settings will he ignored. 

* When the Structure Type parameter has a setting of Type "2"-"10," the outputs of tones 1 and 2 will be combined 
with tone 2, and the outputs of tones 3 and 4 will be combined with tone 4. For this reason, tone 1 will follow the 
settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 35). 

* If the Mix/Parallel parameter is set to "MIX," all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). 


o 


MFX Output 
Level 


0-127 


Volume of the sound passed tlirough the multi-effects 


o 


MFX Chorus 


0-127 


Amount of chorus for the sound passed through multi-effects 


Send Level 






o 


MFX Reverb 


0-127 


Amount of reverb for the sound passed through multi-effects 


Send Level 






<E) 


Chorus Type 


0-3 


Selects either chorus or delay. 






(OFF): Neither chorus or delay is used. 








1 (CHORUS): Chorus is used. 








2 (DELAY): Delay is used. 








3 (GM2 CHO): General MIDI 2 chorus 


(D 


Reverb Type 


0-5 


Type of reverb 






(OFF): Reverb is not used. 








1 (REVERB): Normal reverb 








2 (SRV ROOM): Simulates typical room acoustic reflections. 








3 (SRV HALL): Simulates typical concert hall acoustic reflections. 








4 (SRV PLATE): Simulates a plate reverb, a popular type of artificial reverb unit that derives its sound from the 








vibration of a metallic plate. 








5 (GM2 REV): General MIDI 2 reverb 



126 



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JUNO-G_e.book 127 '^-v 2006^2^130 ^BIB ^<ft2B$445J- 



4^ 



Adding Effects 





Parameter 


Value 


Explanation 


(B 


MFX Output As- 
sign 


A,B 


Output destination of the sound passed through the multi-effects 

A: OUTPUT A (MIX) jacks in stereo 

B: OUTPUT B jacks in stereo 
* If the Mix/Parallel parameter is set to "MIX," all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). 


(E) 


Chorus Output 
Select 


MAIN, REV, 
M+R 


Specifies how the sound routed through chorus will be output. 
MAIN: Output to the OUTPUT jacks in stereo. 
REV: Output to reverb in mono. 
M+R: Output to the OUTPUT jacks in stereo, and to reverb in mono. 


Chorus Level 


0-127 


Volume of the sound passed through chorus 


Chorus Output 
Assign 


A, B 


Selects the pair of OUTPUT jacks to which the chorus sound is routed when Chorus Output Select is set to "MAIN" 
or "M+R." 

A: Output to the OUTPUT A (MIX) jacks in stereo. 

B: Output to the OUTPUT B jacks in stereo. 

* When Chorus Output Select is set to "REV/' this setting will have no effect. 

* If the Mix/Parallel parameter is set to "MIX," all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). 


<D 


Reverb Level 


0-127 


Volume of the sound passed through reverb 


Reverb Output 
Assign 


A,B 


Specifies how the sound routed through reverb will be output. 

A: Output to the OUTPUT A (MIX) jacks in stereo. 

B: Output to the OUTPUT B jacks in stereo. 
* If the Mix/Parallel parameter is set to "MIX," all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). 


(^ 


Mastering Effect 
Type 


0-5 


Mastering effect settings (p. 156) 




Applying Effects in Performance Mode 



In Performance mode you can use three multi-effects (MFXl, MFX2, MFX3), one chorus, and one reverb. For each of the three multi-effects, the 
chorus, and the reverb, you can specify whether it will operate according to the effect settings of the performance, or according to the effect 
settings of the patch or rhythm set assigned to the part you specify. The three multi-effects can be used independently, or you can connect two or 
three of them in series. 

Specifying Ho^v the Sound Will Be Output (Routing) 

Here you can make overall settings for effects, and the output destination and level of each signal. 



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[TO 

For details on these settings, refer to Making Effect Settings (p. 125). 

For the following parameters %0 , ^) - 10 , and |£} settings can he made individually for three systems multi-effects (MFX1-MFX3). 



Parameter 


Value 


Explanation 


o 


Part Select 


1-16 


Part for which you want to make settings 


e 


Part Output As- 
sign 


MEX, A, B, 1-4, 
PAT 


Specifies for each part how the direct sound will be output. 

MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes 

through multi-effects. 

A, B: OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects 

1-4: INDIVIDUAL 1-A jacks in mono without passing through multi-effects 

PAT: Determined by the settings of the patch or rhythm set assigned to the part. 
* If tlie Mix/Parallel parameter is set to "MIX," all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). 


o 


Part Output 
MEX Select 


1-3 
(MEX1-MFX3) 


Specifies which multi-effects will be used. 


o 


Part Output Lev- 
el 


0-127 


Level of the signal sent to the output destination specified by Part Output Assign ( ^J ) 





Part Chorus 
Send Level 


0-127 


Level of the signal sent to chorus for each part 


o 


Part Reverb Send 
Level 


0-127 


Level of the signal sent to reverb for each part. 



■# 



127 




JUNO-G_e.book 128 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



Adding Effects 



Parameter 


Value 


Explanation 


o 


MFX Source 


FRF, P1-F16 


Multi-effects parameter settings used by the performance 
PRF: Performance settings 
P1-P16: Settings of the patch/rhythm set assigned to one of the parts (Select the part number.) 


MFX Type 


0-78 


Selects from among the 78 available multi-effects. 

For details on multi-effects parameters, refer to Multi-Effects Parameters (p. 131). 


o 


MFX Structure 


1-16 


Specifies how MFXl-3 will be connected. 


o 


MFX Output 
Level 


0-127 


Volume of the sound passed through the multi-effects 


(0 


MFX Chorus 
Send Level 


0-127 


Amount of chorus for the sound passed through multi-effects 


(D 


MFX Reverb 
Send Level 


0-127 


Amount of reverb for the sound passed through multi-effects 


<B 


Chorus Source 


FRF, P1-P16 


Chorus parameter settings used by the performance 
PRF: Performance settings 
P1-P16: Settings of the patch/rhythm set assigned to one of the parts (Select the part number.) 


Chorus Type 


0-3 


Selects either chorus or delay. 

(OFF): Neither chorus or delay is used. 

1 (CHORUS): Chorus is used. 

2 (DELAY): Delay is used. 

3 (GM2 CHO): General MIDI 2 chorus 


® 


Reverb Source 


FRF, F1-P16 


Reverb parameter settings used by the performance 
PRF: Performance settings 
P1-P16: Settings of the patch/rhythm set assigned to one of the parts (Select the part number.) 


Reverb Type 


0-5 


Type of reverb 

(OFF): Reverb is not used. 

1 (REVERB): Normal reverb 

2 (SRV ROOM): Simulates typical room acoustic reflections. 

3 (SRV HALL): Simulates typical concert hall acoustic reflections. 

4 (SRV PLATE): Simulates a plate reverb, a popular type of artificial reverb unit that derives its sound from 
the vibration of a metallic plate. 

5 (GM2 REV): General MIDI 2 reverb 


(D 


MFX Output As- 
sign 


A,B 


Output destination of the sound passed through the multi-effects 
A: OUTPUT A (MIX) jacks in stereo 
B: OUTPUT B jacks in stereo 

* If the Mix/Parallel parameter is set to "MIX," all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). 

* Tor some settings ofMPX Structure, the sound that passes through the multi-effect will he sent to a different multi-effect, 
and the MTX Output Assign setting will be ignored. 


(B> 


Chorus Output 
Select 


MAIN, REV, 
M+R 


Specifies how the sound routed through chorus will be output. 
MAIN: Output to the OUTPUT jacks in stereo. 
REV: Output to reverb in mono. 
M+R: Output to the OUTPUT jacks in stereo, and to reverb in mono. 


Chorus Level 


0-127 


Volume of the sound passed through chorus 


Chorus Output 

Assign 


A,B 


Selects the pair of OUTPUT jacks to which the chorus sound is routed when Chorus Output Select is set to 
"MAIN" or "M+R." 

A: OUTPUT A (MIX) jacks in stereo 

B: OUTPUT B jacks in stereo 
* When Chorus Output Select is set to "REV," this setting will have no effect. 
^ If the Mix/Parallel parameter is set to "MIX," all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). 


<D 


Reverb Level 


0-127 


Volume of the sound passed through reverb 


Reverb Output 
Assign 


A,B 


Specifies how the sound routed through reverb will be output. 
A: Output to the OUTPUT A (MIX) jacks in stereo. 
B: Output to the OUTPUT B jacks in stereo. 

* If the Mix/Parallel parameter is set to "MIX," all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 158). 


(D 


Mastering Effect 
Type 


0-5 


Mastering effect settings (p. 156) 



When Patch or Rhythm Set Settings Are Selected 

When the patch or rhythm set's effects settings are selected, those settings are shown in each of the performance's effects setting screens, and 
the settings can be then be changed as well. Changes to patch or rhythm set effects parameter settings are lost when another patch or rhythm 
set is selected. To keep the modified settings, save the patch/rhythm set settings (p. 32, p. 51). 




128 




JUNO-G_e.book 129 '^-v 2006^2^130 ^BIH ^lS2a$445J- 



Adding Effects 



Making Multi-Effects Settings (MFX1-3) 



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Midi Qain 
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For details on these settings, refer to Making Effect Settings (p. 125). 



Parameter 



Value 



Explanation 



(Multi-Effects Type) 



00-78 



Selects from among the 78 available multi-effects. 



In this setting screen, you can edit the parameters of the multi-effects that is selected by the Multi-effects Type setting. For details on the parameters that 
can he edited, refer to Multi-Effects Parameters (p. 131). 



(MEMO) 

Parameters marked by H can be selected as a multi-effect control destination parameter (see below). 



Making Multi-Effects Settings (MFX Control) 




IB1 lEOUHLIZER 



destination 



5ens 
...... 



OFF 
OFF 
OFF 



For details on these settings, refer to IVIaking Effect Settings (p. 125). 
* Press [F5 (CTRL)] to switch the multi-effects that will he modified. 



Parameter 



Value 



Explanation 



Source 1-^ 



Sens l-i 



OFF, CCOl-31, 33-95, 
FITCH BEND, 
AFTERTOUCH, 
SYS CTRLl-4 



Destination 1-4 Refer to p. 131. 



-63- +63 



MIDI message used to change the multi-effects parameter with the multi-effects control 
OFF: Multi-effects control will not be used. 
CC01-31 , 33-95: Controller numbers 1-31, 33-95 
PITCH BEND: Pitch Bend 
AFTERTOUCH: Aftertouch 

SYS CTRL1-4: MIDI messages used as common multi-effects controls 

If you want to use common controllers for the entire JUNO-G, select "SYS CTRL1"-"SYS CTRL4." MIDI mes- 
sages used as System Control 1-4 are set with the Sys Ctrl 1-A Source parameters (p. 160). 

Multi-effects parameters to be controlled with the multi-effects control 

The multi-effects parameters available for control will depend on the multi-effects type. For details, refer to 
Multi-Effects Parameters (p. 131). 

Amount of the multi-effects control's effect that is applied 

To make an increase in the currently selected value (to get higher values, move to the right, increase rates, and 
so on), select a positive value; to make a decrease in the currently selected value (to get lower values, move to 
the left, decrease rates, and so on), select a negative value. For either positive or negative settings, greater ab- 
solute values will allow greater amounts of change. Set this to "0" if you don't want to apply the effect. 

MFX Control 1-16, OFF This determines the channel that will be used for reception when using the Multi-effects Control to modify multi- 

Channel effects parameters in real time, when the MFXl-3 Source parameter (p. 128) is set to "FRF." Set this to "OFF" 

when the Multi-effects Control is not being used. 

* This parameter is not found in Patch mode. 

* In patch/rhythm set mode, there are parameters that determine, for each tone/rhythm tone, whether or not Pitch Bend, Controller Number 11 (Expression) 
and Controller Number 64 (Hold 1) are received (p. 45). When these settings are "ON," and the MIDI messages are received, then when any change is 
made in the settings of the desired parameter, the Pitch Bend, Expression, and Holdl settings also change simultaneously. If you want to change the 
targeted parameters only, then set these to "OFF. " 

• There are parameters that determine whether or not specific MIDI messages are received for each MIDI channel (p. 67). When using the 
multi-effects control, confirm that any MIDI messages used for the multi-effects control will be received. If the JUNO-G is set up such that 
reception of MIDI messages is disabled, then the multi-effects control will not function. 




129 




JUNO-G_e.book ISO'^-y 2006^2^130 ^BIH ^1»2a$445j- 



Adding Effects 



Multi-Effects Control 

If you wanted to change the volume of multi-effects sounds, the 
delay time of Delay, and the like, using an external MIDI device, 
you would need to send System Exclusive messages — MIDI 
messages designed exclusively for the JUNO-G. However, 
System Exclusive messages tend to he complicated, and the 
amount of data that needs to be transmitted can get quite large. 
For that reason, a number of the more typical of the JUNO-G's 
multi-effects parameters have been designed so they accept the 
use of Control Change (or other) MIDI messages for the 
purpose of making changes in their values. For example, you 
can use the Pitch Bend lever to change the amount of distortion, 
or use the keyboard's touch to change the delay time of Delay. 
The parameters that can be changed are predetermined for each 
type of multi-effect; among the parameters described in Multi- 
Effects Parameters (p. 131), these are indicated by a "#." 



In the multi-effect setting screen, a "c" symbol will be shown at 

the left of the parameter. 

The function that allows you use MIDI messages to make these 

changes in realtime to the multi-effects parameters is called the 

Multi-effects Control. Up to four multi-effects controls can be 

used in a single patch/rhythm set/performance. 

When the multi-effects control is used, you can select the 

amount of control (Sens parameter) applied, the parameter 

selected (Destination parameter), and the MIDI message used 

(Source parameter). 



By using the Matrix Control instead of the Multi-effects 
Control, you can also change the some popular parameters 
of multi-effects in realtime (p. 44). 



Specifying the Multi-Effects Structure (MFX Structure) 



Here's howr to specify how MFX 1-3 will be connected. 

* This parameter is not found in Patch mode. 



struct 




jHa^ii 



MFX1 aSlfiUTO WfiH 
MFM£ niPHFlSEE 
MFX3 43:DELfir 



For details on these settings, refer to Making Effect Settings (p. 125). 



Parameter 

Struct 



Value 

TYPE01-TYPE16 



Explanation 

Specifies how MFXl-3 will be connected. 



(MFXl-3 Type) 



00 (THRU)-78 



Selects the multi-effect type of MFXl-3. 




130 




JUNO-G_e.book 131 '^-y 2 00 6^2^130 ^BIB ^<ft2B$4 45J- 



4^ 



Adding Effects 




Multi-Effects Parameters 



The multi-effects feature 78 different kinds of effects. Some of the 
effects consist of two or more different effects connected in series. 
Parameters marked with a sharp "#" can be controlled using a 
specified controller (Two setting items will change simultaneously 
for "#1" and "#2"). 



FILTER (10 types) 


01 


EQUALIZER 


P.132 


02 


SPECTRUM 


P.132 


03 


ISOLATOR 


P.132 


04 


LOW BOOST 


P.132 


05 


SUPER FILTER 


P.132 


06 


STEP FILTER 


P.133 


07 


ENHANCER 


P.133 


08 


AUTO WAH 


P.133 


09 


HUMANIZER 


P.134 


10 


SPEAKER SIMULATOR 


P.134 


MODULATION (12 types) 


11 


PHASER 


P.134 


12 


STEP PHASER 


P.134 


13 


MULTI STAGE PHASER 


P.135 


14 


INFINITE PHASER 


P.135 


15 


RING MODULATOR 


P.135 


16 


STEP RING MODULATOR 


P.135 


17 


TREMOLO 


P.136 


18 


AUTO PAN 


P.136 


19 


STEP PAN 


P.136 


20 


SLICER 


P.136 


21 


ROTARY 


P.137 


22 


VK ROTARY 


P.137 


CHORUS (12 types) 


23 


CHORUS 


P.137 


24 


FLANGER 


P.138 


25 


STEP FLANGER 


P.138 


26 


HEXA-CHORUS 


P.138 


27 


TREMOLO CHORUS 


P.139 


28 


SPACE-D 


P.139 


29 


3D CHORUS 


P.139 


30 


3D FLANGER 


P.139 


31 


3D STEP FLANGER 


P.140 


32 


2BAND CHORUS 


P.140 


33 


2BAND FLANGER 


P.140 


34 


2BAND STEP FLANGER 


P.141 


DYNAMICS (8 types) 


35 


OVERDRIVE 


P.141 


36 


DISTORTION 


P.141 


37 


VS OVERDRP/E 


P.141 


38 


VS DISTORTION 


P.141 


39 


GUITAR AMP SIMULATOR 


P.142 


40 


COMPRESSOR 


P.142 


41 


LIMITER 


P.142 


42 


GATE 


P.142 


DELAY (13 types) 


43 


DELAY 


P.143 


44 


LONG DELAY 


P.143 


45 


SERIAL DELAY 


P.143 


46 


MODULATION DELAY 


P.144 


47 


3TAP PAN DELAY 


P.144 


48 


4TAP PAN DELAY 


P.144 


49 


MULTI TAP DELAY 


P.145 


50 


REVERSE DELAY 


P.145 


51 


SHUFFLE DELAY 


P.145 



52 


3D DELAY 


P.146 


53 


TIME CTRL DELAY 


P.146 


54 


LONG TIME CTRL DELAY 


P.146 


55 


TAPE ECHO 


P.146 


LO-FI (5 types) 


56 


LOFI NOISE 


P.147 


57 


LOFI COMPRESS 


P.147 


58 


LOFI RADIO 


P.147 


59 


TELEPHONE 


P.148 


60 


PHONOGRAPH 


P.148 


PITCH (3 types) 


61 


PITCH SHIFTER 


P.148 


62 


2VOICE PITCH SHIFTER 


P.148 


63 


STEP PITCH SHIFTER 


P.149 


REVERB (2 types) 


64 


REVERB 


P.149 


65 


GATED REVERB 


P.149 


COMBINATION (12 types) 


66 


OVERDRIVE -> CHORUS 


P.150 


67 


OVERDRIVE -^ FLANGER 


P.150 


68 


OVERDRIVE -^ DELAY 


P.150 


69 


DISTORTION -^ CHORUS 


P.150 


70 


DISTORTION ^ FLANGER 


P.150 


71 


DISTORTION ^ DELAY 


P.150 


72 


ENHANCER ^ CHORUS 


R151 


73 


ENHANCER -^ FLANGER 


P.151 


74 


ENHANCER -^ DELAY 


P.151 


75 


CHORUS -^ DELAY 


P.151 


76 


FLANGER ^ DELAY 


P.152 


77 


CHORUS -4 FLANGER 


P.152 


PIANO (1 type) 


78 SYMPATHETIC RESONANCE P.152 



About Note 

Some effect parameters (such as Rate or Delay Time) can be set in 
terms of a note value. 

Such parameters have a num/note switch that lets you specify 
whether you will set the value as a note value or as a numerical value. 
If you want to set Rate (Delay Time) as a numerical value, set the 
num/note switch to "Hz" ("msec"). If you want to set it as a note 
value, set the num/note switch to "NOTE." 



Milja 



eSinUTD HHH 



F i Iter Type 
HManual 

Peak 
HSens 

Polarity 
BPate 



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ED 

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A 



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num/note switch 



dan 

If a parameter whose num/note switch is set to "NOTE" is 
specified as a destination for multi-effect control, you will not be 
able to use multi-effect control to control that parameter. 



■# 



131 




JUNO-G_e.book 132 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



Adding Effects 




01: EQUALIZER 

This is a four-band stereo equalizer (low, mid x 2, high). 



Lin- 



4-Band EQ 



-^ L out 



Rin- 



4-Band EQ 



Rout 



Parameter 


Value 


Explanation 


Low Freq 


200, 400 Hz 


Frequency of the low range 


Low Gain # 


-15- +15 dB 


Gain of the low range 


Midi Freq 


200-8000 Hz 


Frequency of the middle 
range 1 


Midi Gain 


-15- +15 dB 


Gain of the middle range 1 


MidlQ 


0.5, 1.0, 2.0, 4.0, 8.0 


Width of the middle range 1 
Set a higher value for Q to 
narrow the range to be af- 
fected. 


Mid2 Freq 


200-8000 Hz 


Frequency of the middle 
range 2 


Mid2 Gain 


-15- +15 dB 


Gain of the middle range 2 


Mid2Q 


0.5, 1.0, 2.0, 4.0, 8.0 


Width of the middle range 2 
Set a higher value for Q to 
narrow the range to be af- 
fected. 


High Freq 


2000, 4000, 8000 Hz 


Frequency of the high range 


High Gain # 


-15- +15 dB 


Gain of the high range 


Level # 


0-127 


Output Level 



02: SPECTRUM 

This is a stereo spectrum. Spectrum is a type of filter which modifies 
the timbre by boosting or cutting the level at specific frequencies. 



L in- 



spect rum 



-^ Lout 



R in- 



spect rum 



Rout 



Parameter 


Value 


Explanation 


Bandl (250Hz) 


-15- +15 dB 


Gain of each frequency band 


Band2 (500Hz) 


Bands (lOOOHz) 


Band4 (1250Hz) 


Band5 (2000Hz) 


Band6 (3150Hz) 


Band7 (4000Hz) 


Band8 (8000Hz) 


Q 


0.5, 1.0, 2.0, 4.0, 8.0 


Simultaneously adjusts the 
width of the adjusted ranges for 
all the frequency bands. 


Level # 


0-127 


Output Level 



03: ISOLATOR 

This is an equalizer which cuts the volume greatly, allowing you to 
add a special effect to the sound by cutting the volume in varying 
ranges. 



Lin- 



Rin- 



Isolator 




Low Boost 



Isolator 




Low Boost 



Lout 



Rout 



Parameter 


Value 


Explanation 


Boost/ 
Cut Low # 


-60- +4 dB 


These boost and cut each of the High, 
Middle, and Low frequency ranges. 
At -60 dB, the sound becomes in- 
audible. dB is equivalent to the 
input level of the sound. 


Boost/ 
Cut Mid # 


Boost/ 
Cut High # 


Anti Phase 
Low Sw 


OFF, ON 


Turns the Anti-Phase function on and 
off for the Low frequency ranges. 
When turned on, the counter- 
channel of stereo sound is inverted 
and added to the signal. 


Anti Phase 
Low Level 


0-127 


Adjusts the level settings for the Low 

frequency ranges. 

Adjusting this level for certain fre- 
quencies allows you to lend em- 
phasis to specific parts. (This is 
effective only for stereo source.) 


Anti Phase 
MidSw 


OFF, ON 


Settings of the Anti-Phase function 
for the Middle frequency ranges 
The parameters are the same as for 
the Low frequency ranges. 


Anti Phase 
Mid Level 


0-127 


Low Boost Sw 


OFF, ON 


Turns Low Booster on/off. 

This emphasizes the bottom to cre- 
ate a heavy bass sound. 


Low Boost 
Level 


0-127 


Increasing this value gives you a 

heavier low end. 

* Depending on the Isolator and fil- 
ter settings this effect may be hard 
to distinguish. 


Level 


0-127 


Output Level 



04: LOW BOOST 

Boosts the volume of the lower range, creating powerful lows. 



Lin- 



Rin- 



Low Boost 




2-Band EQ 








Low Boost 




2-Band EQ 



Lout 



Rout 



Parameter 


Value 


Explanation 


Boost 
Frequency # 


50-125 Hz 


Center frequency at which the lower 
range will be boosted 


Boost Gain # 


0- +12 dB 


Amount by which the lower range 
will be boosted 


Boost Width 


WIDE, MID, 
NARROW 


Width of the lower range that will be 
boosted 


Low Gain 


-15- +15 dB 


Gain of the low frequency range 


High Gain 


-15- +15 dB 


Gain of the high frequency range 


Level 


0-127 


Output level 



05: SUPER FILTER 

This is a filter with an extremely sharp slope. The cutoff frequency 
can be varied cyclically. 



Lin- 
R in- 



Super Filter 



Super Filter 



Lout 
Rout 



Parameter 


Value 


Explanation 


Filter Type 


LPF, BPF, 


Filter type 




HPF, NOTCH 


Frequency range that will pass 

through each filter 

LPF: frequencies below the cutoff 

BPF: frequencies in the region of the 

cutoff 

HPF: frequencies above the cutoff 

NOTCH: frequencies other than the 

region of the cutoff 



132 




JUNO-G_e.book 133 ^-v 2 00 6^2^133 ^BlB ^1^2^4 4'^ 



(^ 



Adding Effects 



Parameter 

Filter Slope 



Filter 
Cutoff # 



Filter 
Resonance # 



Filter Gain 



Modulation 

Sw 



Modulation 
Wave 



Value 

-12, -24, -36 dB 



0-127 



0-127 



0- +12 dB 



OFF,ON 



TRI, SQR, 
SIN, SAWl, 
SAW2 



Explanation 

Amount of attenuation per octave 
-36 dB: extremely steep 
-24 dB: steep 
-12 dB: gentle 



Cutoff frequency of the filter 

Increasing this value vv'ill raise the 
cutoff frequency. 



Filter resonance level 

Increasing this value will emphasize 
the region near the cutoff frequency. 



Amount of boost for the filter output 



On/off switch for cyclic change 



How the cutoff frequency will be mod- 
ulated 

TRI: triangle wave 

SQR: square wave 

SIN: sine wave 

SAW1 : sawtooth wave (upward) 

SAW2: sawtooth wave (downward) 



SAW1 



SAW2 




Rate* 


0.05-10.00 Hz, 
note 


Rate of modulation 


Depth 


0-127 


Depth of modulation 


Attack # 


0-127 


Speed at which the cutoff frequency 
will change 

This is effective if Modulation Wave 

is SQR, SAWl, or SAW2. 


Level 


0-127 


Output level 



06: STEP FILTER 

This is a filter whose cutoff frequency can be modulated in steps. 
You can specify the pattern by which the cutoff frequency will 
change. 



Lin- 
R in- 



step Filter 



Step Filter 



-^ L out 
-^ Rout 



Parameter 


Value 


Explanation 


Step 01-16 


0-127 


Cutoff frequency at each step 


Rate* 


0.05-10.00 Hz, 
note 


Rate of modulation 


Attack* 


0-127 


Speed at which the cutoff frequency 
changes between steps 


Filter Type 


LPF, BFF, 


Filter type 




HPF, NOTCH 


Frequency range that will pass 

through each filter 

LPF: frequencies below the cutoff 

BPF: frequencies in the region of the 

cutoff 

HPF: frequencies above the cutoff 

NOTCH: frequencies other than the 

region of the cutoff 


Filter Slope 


-12, -24, -36 dB 


Amount of attenuation per octave 
-12 dB: gentle 
-24 dB: steep 
-36 dB: extremely steep 


Filter 


0-127 


Filter resonance level 


Resonance * 




Increasing this value will emphasize 
the region near the cutoff frequency. 


Filter Gain 


0- +12 dB 


Amount of boost for the filter output 


Level 


0-127 


Output level 



07: ENHANCER 

Controls the overtone structure of the high frequencies, adding 
sparkle and tightness to the sound. 



L in — i——\ Enhancer 



Mix 



2-Band 
EQ 



R in — » — I Enhancer 



Mix I 



2-Band 
EQ 



-Lout 



-Rout 



Parameter 


Value 


Explanation 


Sens* 


0-127 


Sensitivity of the enhancer 


Mix* 


0-127 


Level of the overtones gen- 
erated by the enhancer 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Level 


0-127 


Output Level 



08: AUTO WAH 

Cyclically controls a filter to create cyclic change in timbre. 



Lin- 



R in- 



Auto Wah 




2-Band EQ 



Auto Wah 




2-Band EQ 



Lout 



Rout 



Parameter 


Value 


Explanation 


Filter Type 


LPF, BPF 


Type of filter 

LPF: The wah effect will be applied 
over a wide frequency range. 
BPF: The wah effect will be applied 
over a narrow frequency range. 


Manual * 


0-127 


Adjusts the center frequency at which 
the effect is apphed. 


Peak 


0-127 


Adjusts the amount of the wah effect 
that will occur in the range of the center 
frequency. 

Set a higher value for Q to narrow 

the range to be affected. 


Sens* 


0-127 


Adjusts the sensitivity with which the 
filter is controlled. 


Polarity 


UP, DOWN 


Sets the direction in which the frequen- 
cy will change when the auto-wah filter 
is modulated. 

UP: The filter will change toward a 
higher frequency. 
DOWN: The filter will change to- 
ward a lower frequency. 


Rate* 


0.05-10.00 Hz, 
note 


Frequency of modulation 


Depth* 


0-127 


Depth of modulation 


Phase * 


0-180 deg 


Adjusts the degree of phase shift of the 
left and right sounds when the wah ef- 
fect is applied. 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Level 


0-127 


Output Level 




133 




JUNO-G_e.book 134'^-y 2006^2^130 ^BIH ^lS2a$445J- 



Adding Effects 



09: HUMANIZER 

Adds a vowel character to the sound, making it similar to a human 



Lin 



R in 




Lout 



Overdrive — Formant — 




Parameter 


Value 


Explanation 


Drive Sw 


OFF, ON 


Turns Drive on/off. 


Drive # 


0-127 


Degree of distortion 

Also changes the volume. 


Vowell 


a, e, i, 0, u 


Selects the vowel. 


Vowel2 


a, e, i, 0, u 


Rate* 


0.05-10.00 Hz, 
note 


Frequency at which the two vowels 
switch 


Depth* 


0-127 


Effect depth 


Input Sync 
Sw 


OFF, ON 


Determines whether the LFO for 
switching the vowels is reset by the in- 
put signal (ON) or not (OFF). 


Input Sync 
Threshold 


0-127 


Volume level at which reset is applied 


Manual # 


0-100 


Point at which Vowel 1/2 switch 

49 or less: Vowel 1 will have a long- 
er duration. 

50: Vowel 1 and 2 will be of equal 
duration. 

51 or more: Vowel 2 will have a 
longer duration. 


Low Gain 


-15- +15 dB 


Gain of the low frequency range 


High Gain 


-15- +15 dB 


Gain of the high frequency range 


Pan* 


L64-63R 


Stereo location of the output 


Level 


0-127 


Output level 



10: SPEAKER SIMULATOR 

Simulates the speaker type and mic settings used to record the 
speaker sound. 



Lin- 



Speal<er 



Rin- 



Speal<er 



Lout 



Rout 



Parameter 


Value 


Explanation 


Speaker Type 


(See the table right.) 


Type of speaker 


Mic Setting 


1,2,3 


Adjusts the location of the mic 
that is recording the sound of 
the speaker. 

This can be adjusted in 
three steps, with the mic 
becoming more distant in 
the order of 1, 2, and 3. 


Mic Level # 


0-127 


Volume of the microphone 


Direct Level # 


0-127 


Volume of the direct sound 


Level # 


0-127 


Output Level 



Specifications of each Spealcer Type 

The speaker column indicates the diameter of each speaker unit (in 
inches) and the number of units. 



Type 


Cabinet 


Speaker 


Micro- 
phone 


SMALL 1 


small open-back enclosure 


10 


dynamic 


SMALL 2 


small open-back enclosure 


10 


dynamic 


MIDDLE 


open back enclosure 


12x1 


dynamic 


JC-120 


open back enclosure 


12x2 


dynamic 


BUILT-IN 1 


open back enclosure 


12x2 


dynamic 


BUILT-IN 2 


open back enclosure 


12x2 


condenser 


BUILT-IN 3 


open back enclosure 


12x2 


condenser 


BUILT-IN 4 


open back enclosure 


12x2 


condenser 



Type 


Cabinet 


Speaker 


Micro- 
phone 


BUILT-IN 5 


open back enclosure 


12x2 


condenser 


BG STACK 1 


sealed enclosure 


12x2 


condenser 


BG STACK 2 


large sealed enclosure 


12x2 


condenser 


MS STACK 1 


large sealed enclosure 


12x4 


condenser 


MS STACK 2 


large sealed enclosure 


12x4 


condenser 


METAL STACK 


large double stack 


12x4 


condenser 


2-STACK 


large double stack 


12x4 


condenser 


3-STACK 


large triple stack 


12x4 


condenser 



1 1 : PHASER 

A phase-shifted sound is added to the original sound and 
modulated. 



/ I " n V 

Lin — I ©— I PhaseT^ -jQ^^^S— 

t "Mix 



2-Band 
EQ 



X 



\f^ ^ ^ ^ Mix 



♦ ©— TPhaseTT -aCW©— 



2-Band 
EQ 



-Lout 



-Rout 



Parameter 


Value 


Explanation 


Mode 


4-STAGE, 8- 
STAGE, 12-STAGE 


Number of stages in the phaser 


Manual * 


0-127 


Adjusts the basic frequency from 
which the sound will be modu- 
lated. 


Rate* 


0.05-10.00 Hz, note 


Frequency of modulation 


Depth 


0-127 


Depth of modulation 


Polarity 


INVERSE, 


Selects whether the left and right 




SYNCHRO 


phase of the modulation will be 
the same or the opposite. 

INVERSE: The left and right 
phase will be opposite. When 
using a mono source, this 
spreads the sound. 
SYNCHRO: The left and right 
phase will be the same. Select 
this when inputting a stereo 
source. 


Resonance # 


0-127 


Amount of feedback 


Cross 


-98- +98 % 


Adjusts the proportion of the 


Feedback 




phaser sound that is fed back 
into the effect. Negative (-) set- 
tings will invert the phase. 


Mix* 


0-127 


Level of the phase-shifted sound 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Level 


0-127 


Output Level 



1 2: STEP PHASER 

The phaser effect will be varied gradually. 



Lin. 



* ©— step Phaser " ^i:f^*®— 



X 



R in- 



"T — < 

VJ 

' — *■ 



@ — step Phaser 



Mix 



Mix 



2-Band 
EQ 



-►^Os^©- 



2-Band 
EQ 



-Lout 



-Rout 



Parameter 


Value 


Explanation 


Mode 


4-STAGE, 8- 
STAGE, 12-STAGE 


Number of stages in the phaser 


Manual # 


0-127 


Adjusts the basic frequency from 
which the sound will be modu- 
lated. 


Rate* 


0.05-10.00 Hz, note 


Frequency of modulation 


Depth 


0-127 


Depth of modulation 




134 




JUNO-G_e.book 135 '^-y 2006^2^130 ^BIH ^lt2a$445j- 



Adding Effects 



Parameter 


Value 


Explanation 


Polarity 


INVERSE, 


Selects whether the left and right 




SYNCHRO 


phase of the modulation will be 
the same or the opposite. 

INVERSE: The left and right 
phase will be opposite. When 
using a mono source, this 
spreads the sound. 
SYNCHRO: The left and right 
phase will be the same. Select 
this when inputting a stereo 
source. 


Resonance # 


0-127 


Amount of feedback 


Cross 


-98- +98 % 


Adjusts the proportion of the 


Feedback 




phaser sound that is fed back 
into the effect. Negative (-) set- 
tings will invert the phase. 


Step Rate # 


0.10-20.00 Hz, note 


Rate of the step-wise change in 
the phaser effect 


Mix# 


0-127 


Level of the phase-shifted sound 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Level 


0-127 


Output Level 



1 3: MULTI STAGE PHASER 

Extremely high settings of the phase difference produce a deep 
phaser effect. 



Lin 



R in 




IVIuIti Stage 
Phaser 



Resonance 




Mix 



2-Band 
EQ 




Parameter 


Value 


Explanation 


Mode 


4-STAGE, 8- 
STAGE, 
12-STAGE, 16- 
STAGE, 20- 
STAGE, 24-STAGE 


Number of phaser stages 


Manual # 


0-127 


Adjusts the basic frequency from 
which the sound will be modu- 
lated. 


Rate* 


0.05-10.00 Hz, note 


Frequency of modulation 


Depth 


0-127 


Depth of modulation 


Resonance # 


0-127 


Amount of feedback 


Mix# 


0-127 


Level of the phase-shifted sound 


Pan# 


L64-63R 


Stereo location of the output 
sound 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Level 


0-127 


Output Level 



14: INFINITE PHASER 

A phaser that continues raising/lowering the frequency at which the 
sound is modulated. 

Lin- 



R in 




Infinite Phaser — 2-Band EQ 




Parameter 


Value 


Explanation 


Mode 


1, 2, 3, 4 


Higher values will produce a 
deeper phaser effect. 


Speed # 


-100- +100 


Speed at which to raise or lower 
the frequency at which the sound 
is modulated 
(+: upward / -: downward) 


Resonance # 


0-127 


Amount of feedback 


Mix# 


0-127 


Volume of the phase-shifted 
sound 


Pan# 


L64-63R 


Panning of the output sound 



Parameter 


Value 


Explanation 


Low Gain 


-15- +15 dB 


Amount of boost/cut for the 
low-frequency range 


High Gain 


-15- +15 dB 


Amount of boost/cut for the 
high-frequency range 


Level 


0-127 


Output volume 



1 5: RING MODULATOR 

This is an effect that apphes amphtude modulation (AM) to the input 
signal, producing bell-like sounds. You can also change the 
modulation frequency in response to changes in the volume of the 
sound sent into the effect. 



L in — Ring Mod 



2-Band EQ 



R in — Ring IVIod 



2-Band EQ 



Lout 



Rout 



Parameter 


Value 


Explanation 


Frequency # 


0-127 


Adjusts the frequency at which modula- 
tion is applied. 


Sens# 


0-127 


Adjusts the amount of frequency modu- 
lation applied. 


Polarity 


UP, DOWN 


Determines whether the frequency mod- 
ulation moves towards higher frequen- 
cies (UP) or lower frequencies (DOWN). 


Low Gain 


-15- +15 dB 


Gain of the low frequency range 


High Gain 


-15-+15dB 


Gain of the high frequency range 


Balance # 


DlOOiOW- 

DOrlOOW 


Volume balance between the direct 
sound (D) and the effect sound (W) 


Level 


0-127 


Output level 



16: STEP RING MODULATOR 

This is a ring modulator that uses a 16-step sequence to vary the 
frequency at which modulation is applied. 



L in — Step Ring Mod 



2-Band EQ 



R in — Step Ring Mod 



2-Band EQ 



Lout 



Rout 



Parameter 


Value 


Explanation 


Step 01-16 


0-127 


Frequency of ring modulation at 
each step 


Rate* 


0.05-10.00 Hz, note 


Rate at which the 16-step se- 
quence will cycle 


Attack # 


0-127 


Speed at which the modulation 
frequency changes between 
steps 


Low Gain 


-15- +15 dB 


Amount of boost/cut for the 
low-frequency range 


High Gain 


-15- +15 dB 


Amount of boost/cut for the 
high-frequency range 


Balance # 


DlOOiOW- 
DOilOOW 


Volume balance of the original 
sound (D) and effect sound (W) 


Level 


0-127 


Output volume 




135 




_e.book ISS'^-y 2006^2^130 ^BIH ^1»2a$445j- 



Adding Effects 



1 7: TREMOLO 

Cyclically modulates the volume to add tremolo effect to the sound. 



Lin- 



Rin- 



Tremolo 




2-Band EQ 



Tremolo 




2-Band EQ 



Lout 



Rout 



Parameter 


Value 


Explanation 


Mod Wave 


TRI, SQR, SIN, 
SAWl, SAW2 


Modulation Wave 
TRI: triangle wave 
SQR: square wave 
SIN: sine wave 
SAW1/2: sawtooth wave 


SAW1 

A 


M 


M 




3AW2 

N 


N 


N 


Rate# 


0.05-10.00 Hz,note 


Frequency of the change 


Depth* 


0-127 


Depth to which the effect is applied 


Low Gain 


-15- +15 dB 


Gain of the low range 


tiigh Gain 


-15- +15 dB 


Gain of the high range 


Level 


0-127 


Output Level 



1 8: AUTO PAN 

Cyclically modulates the stereo location of the sound. 



Lin- 



R in- 



Auto Pan 




2-Band EQ 



Auto Pan 




2-Band EQ 



Lout 



Rout 



Parameter 


Value 


Explanation 


Mod Wave 


TRL SQR, SIN, 
SAWl, SAW2 


Modulation Wave 
TRI: triangle wave 
SQR: square wave 
SIN: sine wave 
SAW1/2: sawtooth wave 


SAW1 
R 

A 

L 


M 


A 


^ 


3AW2 

R 

N 

L 


N 


N 


Rate# 


0.05-10.00 Hz, note 


Frequency of the change 


Depth* 


0-127 


Depth to which the effect is applied 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Level 


0-127 


Output Level 



19: STEP PAN 

This uses a 16-step sequence to vary the panning of the sound. 
Lin 



Step Pan 



-^ L out 



R in- 



step Pan 



Rout 



Parameter 


Value 


Explanation 


Step 01-16 


L64-63R 


Fan at each step 


Rate* 


0.05-10.00 Hz, note 


Rate at which the 16-step se- 
quence will cycle 


Attack # 


0-127 


Speed at which the pan changes 
between steps 


Input Sync 
Sw 


OFF, ON 


Specifies whether an input note 
will cause the sequence to re- 
sume from the first step of the se- 
quence (ON) or not (OFF) 


Input Sync 
Threshold 


0-127 


Volume at which an input note 
will be detected 


Level 


0-127 


Output volume 



20: SLICER 

By applying successive cuts to the sound, this effect turns a 
conventional sound into a sound that appears to be played as a 
backing phrase. This is especially effective when applied to sustain- 
type sounds. 



Lin- 



Slicer 



Rin- 



Slicer 



Lout 



Rout 



Parameter 


Value 


Explanation 


Step 01-16 


0-127 


Level at each step 


Rate* 


0.05-10.00 
Hz, note 


Rate at which the 16-step sequence will 
cycle 


Attack # 


0-127 


Speed at which the level changes be- 
tween steps 


Input Sync 
Sw 


OFF, ON 


Specifies whether an input note will 
cause the sequence to resume from the 
first step of the sequence (ON) or not 
(OFF) 


Input Sync 
Threshold 


0-127 


Volume at which an input note will be 
detected 


Mode 


LEGATO, 
SLASH 


Sets the manner in which the volume 
changes as one step progresses to the 
next. 

LEGATO: The change in volume from 
one step's level to the next remains 
unaltered. If the level of a following 
step is the same as the one preceding 
it, there is no change in volume. 
SLASH: The level is momentarily set 
to before progressing to the level of 
the next step. This change in volume 
occurs even if the level of the follow- 
ing step is the same as the preceding 
step. 


Shuffle * 


0-127 


Timing of volume changes in levels for 
even-numbered steps {step 2, step 4, step 
6...). 

The higher the value, the later the beat 

progresses. 


Level 


0-127 


Output level 




136 




JUNO-G_e.book 137 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



Adding Effects 



(^ 



21: ROTARY 

The Rotary effect simulates the sound of the rotary speakers often 
used with the electric organs of the past. Since the movement of the 
high range and low range rotors can be set independently, the 
unique type of modulation characteristic of these speakers can be 
simulated quite closely. This effect is most suitable for electric organ 
Patches. 



Lin 



R in 




Lout 



Rout 



Parameter 


Value 


Explanation 


Speed # 


SLOW, FAST 


Simultaneously switch the rota- 
tional speed of the low frequency 
rotor and high frequency rotor. 
SLOW: Slows down the rota- 
tion to the Slow Rate. 
FAST: Speeds up the rotation 
to the Fast Rate. 


Woofer Slow 
Speed 


0.05-10.00 Hz 


Slow speed (SLOW) of the low 
frequency rotor 


Woofer Fast 
Speed 


0.05-10.00 Hz 


Fast speed (FAST) of the low fre- 
quency rotor 


Woofer 
Acceleration 


0-15 


Adjusts the time it takes the low 
frequency rotor to reach the new- 
ly selected speed when switch- 
ing from fast to slow (or slow to 
fast) speed. Lower values will re- 
quire longer times. 


Woofer Level 


0-127 


Volume of the low frequency ro- 
tor 


Tweeter Slow 
Speed 


0.05-10.00 Hz 


Settings of the high frequency ro- 
tor 

The parameters are the same 
as for the low frequency rotor 


Tweeter Fast 
Speed 


0.05-10.00 Hz 


Tweeter 
Acceleration 


0-15 


Tweeter Level 


0-127 


Separation 


0-127 


Spatial dispersion of the sound 


Level # 


0-127 


Output Level 



22: VK ROTARY 

This type provides modified response for the rotary speaker, with 
the low end boosted further. 

This effect features the same specifications as the VK-7's built-in 
rotary speaker. 



Lin 



R in 




2-Bancl EQ 



Rotary 



2-Band EQ 



Lout 



■Rout 



Parameter 


Value 


Explanation 


Speed # 


SLOW, FAST 


Rotational speed of the rotat- 
ing speaker 


Brake # 


OFF, ON 


Switches the rotation of the 

rotary speaker. 

When this is turned on, the 
rotation will gradually 
stop. When it is turned off, 
the rotation will gradually 
resume. 


Woofer Slow 
Speed 


0.05-10.00 Hz 


Low-speed rotation speed of 
the woofer 


Woofer Fast 
Speed 


0.05-10.00 Hz 


High-speed rotation speed of 
the woofer 



Parameter 


Value 


Explanation 


Woofer Trans 
Up 


0-127 


Adjusts the rate at which the 
woofer rotation speeds up 
when the rotation is switched 
from Slow to Fast. 


Woofer Trans 
Down 


0-127 


Adjusts the rate at which the 
woofer rotation speeds up 
when the rotation is switched 
from Fast to Slow. 


Woofer Level 


0-127 


Volume of the woofer 


Tweeter Slow 
Speed 


0.05-10.00 Hz 


Settings of the tweeter 
The parameters are the 
san\e as for the woofer. 


Tweeter Fast 
Speed 


0.05-10.00 Hz 


Tweeter Trans 
Up 


0-127 


Tweeter Trans 
Down 


0-127 


Tweeter Level 


0-127 


Spread 


0-10 


Sets the rotary speaker stereo 
image. The higher the value 
set, the wider the sound is 
spread out. 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Level # 


0-127 


Output Level 



23: CHORUS 

This is a stereo chorus. A filter is provided so that you can adjust the 
timbre of the chorus sound. 



Lin ■ 



t: 



Balance D 

— 30^^ — *fe; 



Chorus 



2-Band 
EQ 



Rin — i 



Chorus 



Balance W 
Balance W 



-<^ 




Balance D 



2-Band 
EQ 



Lout 



Rout 



Parameter 


Value 


Explanation 


Filter Type 


OFF, LPF, HPF 


Type of filter 

OFF: no filter is used 

LPF: cuts the frequency range 

above the Cutoff Freq 

HPF: cuts the frequency range 

below the Cutoff Freq 


Cutoff Freq 


200-8000 Hz 


Basic frequency of the filter 


Pre Delay 


0.0-100.0 ms 


Adjusts the delay time from the 
direct sound until the chorus 
sound is heard. 


Rate* 


0.05-10.00 Hz, note 


Frequency of modulation 


Depth 


0-127 


Depth of modulation 


Phase 


0-180 deg 


Spatial spread of the sound 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Balance # 


DlOOiOW- 
DOilOOW 


Volume balance between the di- 
rect sound (D) and the chorus 
sound (W) 


Level 


0-127 


Output Level 




137 




JUNO-G_e.book ISS'^-y 2006^2^130 ^BIH ^1»2a$445j- 



Adding Effects 



24: FLANGER 

This is a stereo flanger. (The LFO has the same phase for left and 
right.) It produces a metallic resonance that rises and falls like a jet 
airplane taking off or landing. A filter is provided so that you can 
adjust the timbre of the flanged sound. 



Lin 



Balance D 



R in 




-Lout 



-Rout 



Balance D 



Parameter 


Value 


Explanation 


Filter Type 


OFF, LPF, HPF 


Type of filter 

OFF: no filter is used 

LPF: cuts the frequency range 

above the Cutoff Freq 

HPF: cuts the frequency range 

below the Cutoff Freq 


Cutoff Freq 


200-8000 Hz 


Basic frequency of the filter 


Pre Delay 


0.0-100.0 ms 


Adjusts the delay time from 
when the direct sound begins 
until the flanger sound is heard. 


Rate* 


0.05-10.00 Hz, note 


Frequency of modulation 


Depth 


0-127 


Depth of modulation 


Phase 


0-180 deg 


Spatial spread of the sound 


Feedback # 


-98- +98 % 


Adjusts the proportion of the 
flanger sound that is fed back 
into the effect. Negative (-) set- 
tings will invert the phase. 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Balance # 


D100:0W- 
D0:100W 


Volume balance between the di- 
rect sound (D) and the flanger 
sound (W) 


Level 


0-127 


Output Level 



25: STEP FLANGER 

This is a flanger in which the flanger pitch changes in steps. The 
speed at which the pitch changes can also be specified in terms of a 
note-value of a specified tempo. 



Lin. 




Balance D 
30^^ *<±>- 



Step Flanger 




2-Band 
EQ 



-Lout 



R in- 




Feedback 
Feedback 

* 



Step Flanger 



-^ 




Balance W 



Balance W 



Balance D 



2-Band 
EQ 



-Rout 



Parameter 


Value 


Explanation 


Filter Type 


OFF, LPF, HPF 


Type of filter 

OFF: no filter is used 
LPF: cuts the frequency 
range above the Cutoff Freq 
HPF: cuts the frequency 
range below the Cutoff Freq 


Cutoff Freq 


200-8000 Hz 


Basic frequency of the filter 


Pre Delay 


0.0-100.0 ms 


Adjusts the delay time from 
when the direct sound begins 
until the flanger sound is 
heard. 


Rate# 


0.05-10.00 Hz, note 


Frequency of modulation 



Parameter 


Value 


Explanation 


Depth 


0-127 


Depth of modulation 


Phase 


0-180 deg 


Spatial spread of the sound 


Feedback # 


-98- +98 % 


Adjusts the proportion of the 
flanger sound that is fed back 
into the effect. Negative (-) set- 
tings will invert the phase. 


Step Rate # 


0.10-20.00 Hz, note 


Rate (period) of pitch change 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Balance # 


D100:0W-D0:100W 


Volume balance between the 
direct sound (D) and the 
flanger sound (W) 


Level 


0-127 


Output Level 



26: HEXA-CHORUS 

Uses a six-phase chorus (six layers of chorused sound) to give 
richness and spatial spread to the sound. 



Lin 



R in- 




■^ 



Balance D 



Hexa Chorus 




■^ 




Lout 
Balance W 

Balance W 
Rout 



Balance D 



Parameter 


Value 


Explanation 


Pre Delay 


0.0-100.0 ms 


Adjusts the delay time from the 
direct sound until the chorus 
sound is heard. 


Rate# 


0.05-10.00 Hz, note 


Frequency of modulation 


Depth 


0-127 


Depth of modulation 


Pre Delay 


0-20 


Adjusts the differences in Pre 


Deviation 




Delay between each chorus 
sound. 


Depth 


-20- +20 


Adjusts the difference in modu- 


Deviation 




lation depth between each cho- 
rus sound. 


Pan Deviation 


0-20 


Adjusts the difference in stereo 
location between each chorus 
sound. 

0: All chorus sounds will be in 

the center. 

20: Each chorus sound will be 

spaced at 60 degree intervals 

relative to the center. 


Balance # 


D100:0W-D0:100W 


Volume balance between the di- 
rect sound (D) and the chorus 
sound (W) 


Level 


0-127 


Output Level 




138 




JUNO-G_e.book ISS'^--/ 2006^2^130 ^BIH ^1»2a$445j- 



Adding Effects 



(^ 



27: TREMOLO CHORUS 

This is a chorus effect with added Tremolo (cyclic modulation of 
volume). 



Lin 



O^^ *© — *-Lout 



Balance D 



Tremolo Chorus 




Balance W 



R in- 



-^ 



Balance D 



jhr*'Balan( 
^ — * 



Balance W 
Rout 



Parameter 


Value 


Explanation 


Pre Delay 


0.0-100.0 ms 


Adjusts the delay time from 
the direct sound until the cho- 
rus sound is heard. 


Chorus Rate # 


0.05-10.00 Hz, note 


Modulation frequency of the 
chorus effect 


Chorus Depth 


0-127 


Modulation depth of the cho- 
rus effect 


Tremolo Rate # 


0.05-10.00 Hz, note 


Modulation frequency of the 
tremolo effect 


Tremolo 
Separation 


0-127 


Spread of the tremolo effect 


Tremolo Phase 


0-180 deg 


Spread of the tremolo effect 


Balance # 


D100:0W-D0:100W 


Volume balance between the 
direct sound (D) and the trem- 
olo chorus sound (W) 


Level 


0-127 


Output Level 



28: SPACE-D 

This is a multiple chorus that applies two-phase modulation in 
stereo. It gives no impression of modulation, but produces a 
transparent chorus effect. 



Lin 



t: 



Balance D 

— -f:^ — *tE 



Space D 



2-Band 
EQ 



Rin — l— 



' — Space D 



Balance W 
Balance W 



-^y^ 




Balance D 



2-Band 
EQ 



Lout 



Rout 



Parameter 


Value 


Explanation 


Pre Delay 


0.0-100.0 ms 


Adjusts the delay time from 
the direct sound until the 
chorus sound is heard. 


Rate* 


0.05-10.00 Hz, note 


Frequency of modulation 


Depth 


0-127 


Depth of modulation 


Phase 


0-180 deg 


Spatial spread of the sound 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Balance # 


D100:0W-D0:100W 


Volume balance between 
the direct sound (D) and the 
chorus sound (W) 


Level 


0-127 


Output Level 



29: 3D CHORUS 

This applies a 3D effect to the chorus sound. The chorus sound mil 
be positioned 90 degrees left and 90 degrees right. 



()- 



3D Chorus 



jh 



2-Band 
EQ 



^ 



2-Band 
EQ 



Lout 



Rout 



Parameter 


Value 


Explanation 


Filter Type 


OFF, LPF, HPF 


Type of filter 

OFF: no filter is used 
LPF: cuts the frequency 
range above the Cutoff Freq 
HPF: cuts the frequency 
range below the Cutoff Freq 


Cutoff Freq 


200-8000 Hz 


Basic frequency of the filter 


Pre Delay 


0.0-100.0 ms 


Adjusts the delay time from the 
direct sound until the chorus 
sound is heard. 


Rate* 


0.05-10.00 Hz, note 


Frequency of modulation 


Depth 


0-127 


Modulation depth of the chorus 
effect 


Phase 


0-180 deg 


Spatial spread of the sound 


Output Mode 


SPEAKER, PHONES 


Adjusts the method that will be 
used to hear the sound that is 
output to the OUTPUT jacks. 
The optimal 3D effect will be 
achieved if you select SPEAK- 
ER when using speakers, or 
PHONES when using head- 
phones. 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Balance # 


D100:0W-D0:100W 


Volume balance between the 
direct sound (D) and the chorus 
sound (W) 


Level 


0-127 


Output Level 



30: 3D FLANGER 

This applies a 3D effect to the flanger sound. The flanger sound will 
be positioned 90 degrees left and 90 degrees right. 



3D Flanger 



jH 



2-Band 
EQ 



^ 



2-Band 
EQ 



Lout 



Rout 



Parameter 


Value 


Explanation 


Filter Type 


OFF, LPF, HPF 


Type of filter 

OFF: no filter is used 
LPF: cuts the frequency 
range above the Cutoff Freq 
HPF: cuts the frequency 
range below the Cutoff Freq 


Cutoff Freq 


200-8000 Hz 


Basic frequency of the filter 


Pre Delay 


0.0-100.0 ms 


Adjusts the delay time from 
when the direct sound begins 
until the flanger sound is 
heard. 


Rate* 


0.05-10.00 Hz, note 


Frequency of modulation 


Depth 


0-127 


Depth of modulation 


Phase 


0-180 deg 


Spatial spread of the sound 


Feedback # 


-98- +98 % 


Adjusts the proportion of the 
flanger sound that is fed back 
into the effect. Negative {-) set- 
tings will invert the phase. 


Output Mode 


SPEAKER, PHONES 


Adjusts the method that will be 
used to hear the sound that is 
output to the OUTPUT jacks. 
The optimal 3D effect will be 
achieved if you select SPEAK- 
ER when using speakers, or 
PHONES when using head- 
phones. 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Balance * 


D100:0W-D0:100W 


Volume balance between the 
direct sound (D) and the 
flanger sound (W) 


Level 


0-127 


Output Level 




139 




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Adding Effects 



31:3DSTEPFLANGER 

This applies a 3D effect to tfie step flanger sound. The flanger sound 
will be positioned 90 degrees left and 90 degrees right. 



()- 



3D Step Flanger 



2-Band 
EQ 



^^ 



2-Band 
EQ 



■Lout 



Rout 



Parameter 


Value 


Explanation 


Filter Type 


OFF, LPF, HPF 


Type of filter 

OFF: no filter is used 
LPF: cuts the frequency 
range above the Cutoff Freq 
HPF: cuts the frequency 
range below the Cutoff Freq 


Cutoff Freq 


200-8000 Hz 


Basic frequency of the filter 


Pre Delay 


0.0-100.0 ms 


Adjusts the delay time from 
when the direct sound begins 
until the flanger sound is 
heard. 


Rate* 


0.05-10.00 Hz, note 


Frequency of modulation 


Depth 


0-127 


Depth of modulation 


Phase 


0-180 deg 


Spatial spread of the sound 


Feedback # 


-98- +98 % 


Adjusts the proportion of the 
flanger sound that is fed back 
into the effect. Negative (-) set- 
tings will invert the phase. 


Step Rate # 


0.10-20.00 Hz, note 


Rate (period) of pitch change 


Output Mode 


SPEAKER, PHONES 


Adjusts the method that will be 
used to hear the sound that is 
output to the OUTPUT jacks. 
The optimal 3D effect will be 
achieved if you select SPEAK- 
ER when using speakers, or 
PHONES when using head- 
phones. 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Balance # 


D100:0W-D0:100W 


Volume balance between the 
direct sound (D) and the 
flanger sound (W) 


Level 


0-127 


Output Level 



32: 2BAND CHORUS 

A chorus effect that lets you apply an effect independently to the 
low-frequency and high-frequency ranges. 



Lin. 



Rin- 



I — [spii^ 



gh Band Chorus \ 



Low Band Chorus 
igh Band Chorus 



Low Band Chorus \ 




Lout 



R out 



Parameter 


Value 


Explanation 


Split Freq 


200-8000 Hz 


Frequency at which the low 
and high ranges will be divid- 
ed 


Low Pre Delay 


0.0-100.0 ms 


Delay time from when the 
original sound is heard to 
when the low-range chorus 
sound is heard 


Low Rate # 


0.05-10.00 Hz, note 


Rate at which the low-range 
chorus sound is modulated 


Low Depth 


0-127 


Modulation depth for the low- 
range chorus sound 


Low Phase 


0-180 deg 


Spaciousness of the low -range 
chorus sound 



Parameter 


Value 


Explanation 


High Pre Delay 


0.0-100.0 ms 


Delay time from when the 
original sound is heard to 
when the high-range chorus 
sound is heard 


High Rate # 


0.05-10.00 Hz, note 


Rate at which the low -range 
chorus sound is modulated 


High Depth 


0-127 


Modulation depth for the 
high-range chorus sound 


High Phase 


0-180 deg 


Spaciousness of the high- 
range chorus sound 


Balance # 


D100:0W-D0:100W 


Volume balance of the origi- 
nal sound (D) and chorus 
sound (W) 


Level 


0-127 


Output volume 



33: 2BAND FLANGER 

A flanger that lets you apply an effect independently to the low- 
frequency and high-frequency ranges. 



Lin 



R in 




Lout 



Rout 



Parameter 


Value 


Explanation 


Split Freq 


200-8000 Hz 


Frequency at which the low 
and high ranges will be divid- 
ed 


Low Pre Delay 


0.0-100.0 ms 


Delay time from when the 
original sound is heard to 
when the low-range flanger 
sound is heard 


Low Rate # 


0.05-10.00 Hz, note 


Rate at which the low -range 
flanger sound is modulated 


Low Depth 


0-127 


Modulation depth for the low- 
range flanger sound 


Low Phase 


0-180 deg 


Spaciousness of the low-range 
flanger sound 


Low 
Feedback # 


-98- +98% 


Proportion of the low -range 
flanger sound that is to be re- 
turned to the input (negative 
values invert the phase) 


High Pre Delay 


0.0-100.0 ms 


Delay time from when the 
original sound is heard to 
when the high-range flanger 
sound is heard 


High Rate # 


0.05-10.00 Hz, note 


Rate at which the high-range 
flanger sound is modulated 


High Depth 


0-127 


Modulation depth for the 
high-range flanger sound 


High Phase 


0-180 deg 


Spaciousness of the high- 
range flanger sound 


High 
Feedback # 


-98- +98% 


Proportion of the high-range 
flanger sound that is to be re- 
turned to the input (negative 
values invert the phase) 


Balance # 


D100:0W-D0:100W 


Volume balance of the origi- 
nal sound (D) and flanger 
sound (W) 


Level 


0-127 


Output volume 




140 




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Adding Effects 



(^ 



34: 2BAND STEP FLANGER 

A step flanger that lets you apply an effect independently to the low- 
frequency and high-frequency ranges. 



Lin ■ 




Rin- 




High Band Step Flanger \ 



High Band Feedback 
Low Band Step Flanger 

4 

Low Band Feedback 

High Band Feedback 

4 



©j High Band Step Flanger 



Low Band Feedback 

< 



Low Band Step Flanger \ 




Lout 




^£(2-^-Rout 



Parameter 


Value 


Explanation 


Split Freq 


200-8000 Hz 


Frequency at which the low 
and high ranges will be divid- 
ed 


Low Pre Delay 


0.0-100.0 ms 


Delay time from when the 
original sound is heard to 
when the low-range flanger 
sound is heard 


Low Rate # 


0.05-10.00 Hz, note 


Rate at which the low-range 
flanger sound is modulated 


Low Depth 


0-127 


Modulation depth for the low- 
range flanger sound 


Low Phase 


0-180 deg 


Spaciousness of the low -range 
flanger sound 


Low 
Feedback # 


-98- +98% 


Proportion of the low -range 
flanger sound that is to be re- 
turned to the input (negative 
values invert the phase) 


Low Step 
Rate* 


0.10-20.00 Hz, note 


Rate at which the steps will 
cycle for the low-range 
flanger sound 


High Pre Delay 


0.0-100.0 ms 


Delay time from when the 
original sound is heard to 
when the high-range flanger 
sound is heard 


High Rate # 


0.05-10.00 Hz, note 


Rate at which the high-range 
flanger sound is modulated 


High Depth 


0-127 


Modulation depth for the 
high-range flanger sound 


High Phase 


0-180 deg 


Spaciousness of the high- 
range flanger sound 


High 
Feedback # 


-98- +98% 


Proportion of the high-range 
flanger sound that is to be re- 
turned to the input (negative 
values invert the phase) 


High Step 
Rate* 


0.10-20.00 Hz, note 


Rate at which the steps will 
cycle for the high-range 
flanger sound 


Balance * 


D100:0W-D0:100W 


Volume balance of the origi- 
nal sound (D) and flanger 
sound (W) 


Level 


0-127 


Output volume 



35: OVERDRIVE 

Creates a soft distortion similar to that produced by vacuum tube 
amplifiers. 



Lin 



R in 




Lout 



Over |_| Amp |_| 2-Band 
Simulator 




Parameter 


Value 


Explanation 


Drive # 


0-127 


Degree of distortion 

Also changes the volume. 


Amp Type 


SMALL, 
BUILT-IN, 
2-STACK, 
3-STACK 


Type of guitar amp 
SMALL: small amp 
BUILT-IN: single-unit type amp 
2-STACK: large double stack amp 
3-STACK: large triple stack amp 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Pan* 


L64-63R 


Stereo location of the output sound 


Level 


0-127 


Output Level 



36: DISTORTION 

Produces a more intense distortion than Overdrive. The parameters 
are the same as for "35: OVERDRIVE." 



Lin 



R in 

37: VS OVERDRIVE 

This is an overdrive that provides heavy distortion. 
Lin. 














1 *- Lout 


Distortion 




Amp 
Simulator 


- 


2-Band 
EQ 


rfpanL 
jQf^Pan R 












^--^Rout 



R in 




Overdrive — 




Parameter 


Value 


Explanation 


Drive* 


0-127 


Degree of distortion 

Also changes the volume. 


Tone * 


0-127 


Sound quality of the Overdrive effect 


AmpSw 


OFF, ON 


Turns the Amp Simulator on/off. 


Amp Type 


SMALL, 
BUILT-IN, 
2-STACK, 
3-STACK 


Type of guitar amp 
SMALL: small amp 
BUILT-IN: single-unit type amp 
2-STACK: large double stack amp 
3-STACK: large triple stack amp 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Pan* 


L64-63R 


Stereo location of the output sound 


Level 


0-127 


Output Level 



38: VS DISTORTION 

This is a distortion effect that provides heavy distortion. The 
parameters are the same as for "37: VS OVERDRIVE." 

Lin 



R in 














1 *- L out 


Distortion 




Amp 
Simulator 


- 


2-Band 
EQ 


XT Pan L 
jQ^Pan R 












'\--^Rout 




141 




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Adding Effects 



39: GUITAR AMP SIMULATOR 

This is an effect that simulates the sound of a guitar amplifier. 
Lin 



R in 




Parameter 


Value 


Explanation 


Pre Amp Sw 


OFF, ON 


Turns the amp switch on/off. 


Pre Amp 


JC-120, CLEAN TWIN, 


Type of guitar amp 


Type 


MATCH DRIVE, 
BG LEAD, MS1959I, 
MS1959I1, MS19591+11, 
SLDN LEAD, 
METAL5150, 
METAL LEAD, OD-1, 
OD-2 TURBO, 
DISTORTION, FUZZ 




Pre Amp 


0-127 


Volume and amount of distor- 


Volume # 




tion of the amp 


Pre Amp 


0-127 


Volume of the entire pre-amp 


Master # 






Pre Amp 


LOW, MIDDLE, HIGH 


Amount of pre-amp distortion 


Gain 






Pre Amp 


0-127 


Tone of the bass/mid/treble 


Bass 




frequency range 

* Middle cannot be set if 


Pre Amp 


Middle 




"Match Drive" is selected as 
the Pre Amp Type. 


Pre Amp 


Treble 






Pre Amp 


0-127 


Tone for the ultra-high fre- 


Presence 


(MATCH DRIVE: 
-127 - 0) 


quency range 


Pre Amp 


OFF, ON 


Turning this "On" produces a 


Bright 




sharper and brighter sound. 

* This parameter applies to 
the "JC-120," "Clean Twin," 
and "BG Lead" Pre Amp 
Types. 


Speaker Sw 


OFF, ON 


Determines whether the signal 
passes through the speaker 
(ON), or not (OFF). 


Speaker 


(See the table below.) 


Type of speaker 


Type 






Mic Setting 


1,2,3 


Adjusts the location of the mic 
that's capturing the sound of 
the speaker. 

This can be adjusted in three 
steps, from 1 to 3, with the 
mic becoming more distant 
as the value increases. 


Mic Level 


0-127 


Volume of the microphone 


Direct Level 


0-127 


Volume of the direct sound 


Pan# 


L64-63R 


Stereo location of the output 


Level # 


0-127 


Output level 



Specifications for each Speaker Type 

The speaker column indicates the diameter of each speaker unit (in 
inches) and the number of units. 



Type 


Cabinet 


Spealter 


IVIicrophione 


SMALL 1 


small open-back enclosure 


10 


dynamic 


SMALL 2 


small open-back enclosure 


10 


dynamic 


MIDDLE 


open back enclosure 


12x1 


dynamic 


JC-120 


open back enclosure 


12x2 


dynamic 


BUILT-IN 1 


open back enclosure 


12x2 


dynamic 


BUILT-IN 2 


open back enclosure 


12x2 


condenser 


BUILT-IN 3 


open back enclosure 


12x2 


condenser 


BUILT-IN 4 


open back enclosure 


12x2 


condenser 


BUILT-IN 5 


open back enclosure 


12x2 


condenser 


BG STACK 1 


sealed enclosure 


12x2 


condenser 


BG STACK 2 


large sealed enclosure 


12x2 


condenser 


MS STACK 1 


large sealed enclosure 


12x4 


condenser 


MS STACK 2 


large sealed enclosure 


12x4 


condenser 


METAL 
STACK 


large double stack 


12x4 


condenser 


2-STACK 


large double stack 


12x4 


condenser 


3-STACK 


large triple stack 


12x4 


condenser 



40: COMPRESSOR 

Flattens out high levels and boosts low levels, smoothing out 
fluctuations in volume. 



L in — Compressor 



2-Band EQ 



R in — Compressor 



2-Band EQ 



Lout 



Rout 



Parameter 


Value 


Explanation 


Attack # 


0-127 


Sets the speed at which compression 
starts 


Threshold # 


0-127 


Adjusts the volume at which compres- 
sion begins 


Post Gain 


0- +18 dB 


Adjusts the output gain. 


Low Gain 


-15- +15 dB 


Gain of the low frequency range 


High Gain 


-15- +15 dB 


Gain of the high frequency range 


Level # 


0-127 


Output level 



41: LIMITER 

Compresses signals that exceed a specified volume level, preventing 
distortion from occurring. 



L in — Limiter 



2-Band EQ 



R in- 



Limiter 




2-Band EQ 



Lout 



Rout 



Parameter 


Value 


Explanation 


Release # 


0-127 


Adjusts the time after the signal volume 
falls below the Threshold Level until 
compression is no longer applied. 


Threshold # 


0-127 


Adjusts the volume at which compres- 
sion begins 


Ratio 


1.5:1,2:1,4:1, 
100:1 


Compression ratio 


Post Gain 


0- +18 dB 


Adjusts the output gain. 


Low Gain 


-15- +15 dB 


Gain of the low frequency range 


High Gain 


-15- +15 dB 


Gain of the high frequency range 


Level # 


0-127 


Output level 



42: GATE 

Cuts the reverb's delay according to the volume of the sound sent 
into the effect. Use this when you want to create an artificial- 
sounding decrease in the reverb's decay. 



Lin- 



Gate 



-^ L out 



R in- 



Gate 



Rout 



Parameter 


Value 


Explanation 


Threshold # 


0-127 


Volume level at which the gate begins to 
close 


Mode 


GATE, 
DUCK 


Type of gate 

GATE: The gate will close when the 
volume of the original sound decreas- 
es, cutting the original sound. 
DUCK (Ducking): The gate will close 
when the volume of the original 
sound increases, cutting the original 
sound. 


Attack 


0-127 


Adjusts the time it takes for the gate to 
fully open after being triggered. 


Hold 


0-127 


Adjusts the time it takes for the gate to 
start closing after the source sound falls 
beneath the Threshold. 




142 




JUNO-G_e.book 143 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



Adding Effects 



(^ 



Parameter 


Value 


Explanation 


Release 


0-127 


Adjusts the time it takes the gate to fully 
close after the hold time. 


Balance # 


DlOOiOW- 
DOilOOW 


Volume balance between the direct 
sound (D) and the effect sound (W) 


Level 


0-127 


Output level 



43: DELAY 

This is a stereo delay. 

When Feedback Mode is NORMAL: 



Lin 



Balance D 




-Lout 



Rin— / 



Balance D 
When Feedback Mode is CROSS: 



Lin. 



Balance D 



R in- 




2-Band 
EQ 



-Rout 



-Lout 



Balance W 



'Balance W 



Balance D 



2-Band 
EQ 



-Rout 



Parameter 


Value 


Explanation 


Delay Left 


0-1300 ms, 
note 


Adjusts the time until the delay sound is 
heard. 


Delay Right 


Phase Left 


NORMAL, 
INVERSE 


Phase of the delay sound 


Phase Right 


Feedback 
Mode 


NORMAL, 
CROSS 


Selects the way in which delay sound is 
fed back into the effect. (See the figures 
above.) 


Feedback # 


-98- +98 % 


Adjusts the amount of the delay sound 
that's fed back into the effect. Negative 
(-) settings invert the phase. 


HF Damp 


200-8000 Hz, 
BYPASS 


Adjusts the frequency above which sound 
fed back to the effect is filtered out. If you 
don't want to filter out any high frequen- 
cies, set this parameter to BYPASS. 


Low Gain 


-15- +15 dB 


Gain of the low frequency range 


High Gain 


-15- +15 dB 


Gain of the high frequency range 


Balance # 


D100:0W- 
D0:100W 


Volume balance between the direct 
sound (D) and the delay sound (W) 


Level 


0-127 


Output level 



44: LONG DELAY 

A delay that provides a long delay time. 
Lin 



R in 











r<* 


2-Band 
EQ 


\ 


1H 




Y 


\ 






X; Pan 


L 


f- 


Long Delay 






T 


f 






jQr^Pan R 






Feedback 






I 


^\f 


2-Band 
EQ 










^ 



-Lout 



-Rout 



Parameter 


Value 


Explanation 


Delay Time 


0-2600 ms, note 


Delay time from when the 
original sound is heard to 
when the delay sound is 
heard 


Phase 


NORMAL, INVERSE 


Phase of the delay (NORM AL: 
non-inverted, INVERT: in- 
verted) 


Feedback # 


-98- +98% 


Proportion of the delay sound 
that is to be returned to the in- 
put (negative values invert 
the phase) 


HF Damp 


200-8000 Hz, 
BYPASS 


Frequency at which the high- 
frequency content of the de- 
layed sound will be cut (BY- 
PASS: no cut) 


Pan# 


L64-63R 


Panning of the delay sound 


Low Gain 


-15- +15 dB 


Amount of boost/cut for the 
high-frequency range 


High Gain 


-15- +15 dB 


Amount of boost/cut for the 
high-frequency range 


Balance # 


D100:0W-D0:100W 


Volume balance of the origi- 
nal sound (D) and delay 
sound (W) 


Level 


0-127 


Output volume 



45: SERIAL DELAY 

This delay connects two delay units in series. Feedback can be 
applied independently to each delay unit, allowing you to produce 
complex delay sounds. 

Lin 



R in 




Parameter 


Value 


Explanation 


Delayl Time 


0-1300 ms, note 


Delay time from when sound 
is input to delay 1 until the de- 
lay sound is heard 


Delayl 
Feedback # 


-98- +98% 


Proportion of the delay sound 
that is to be returned to the in- 
put of delay 1 (negative values 
invert the phase) 


Delayl HF 
Damp 


200-8000 Hz, 
BYPASS 


Frequency at which the high- 
frequency content of the de- 
layed sound of delay 1 will be 
cut (BYPASS: no cut) 


Delay2 Time 


0-1300 ms, note 


Delay time from when sound 
is input to delay 2 until the de- 
lay sound is heard 


Delay2 
Feedback # 


-98- +98% 


Proportion of the delay sound 
that is to be returned to the in- 
put of delay 2 (negative values 
invert the phase) 


Delay2 HF 
Damp 


200-8000 Hz, 
BYPASS 


Frequency at which the high- 
frequency content of the de- 
layed sound of delay 2 will be 
cut (BYPASS: no cut) 


Pan# 


L64-63R 


Panning of the delay sound 


Low Gain 


-15- +15 dB 


Amount of boost/cut for the 
low-frequency range 


High Gain 


-15- +15 dB 


Amount of boost/cut for the 
high-frequency range 


Balance # 


D100:0W-D0:100W 


Volume balance of the origi- 
nal sound (D) and delay 
sound (W) 


Level 


0-127 


Output volume 




143 




JUNO-G_e.book 144^^--/ 2006^2^130 ^BIH ^lS2a$445J- 



Adding Effects 



46: MODULATION DELAY 

Adds modulation to the delayed sound. 
When Feedback Mode is NORMAL: 



Lin. 



\^ 



Balance D 



Delay [-y| Modulation |jCJ^ Balance 



"f^ 

iori"|jCrBalc 



2-Band 
EQ 



-Lout 



J w 



Feedback 
Feedback 



©- |Delay[ -i- rModulation | jq*'Balc 
Rin— / iO^ — »0— 



W 



Balance D 
When Feedback Mode is CROSS: 



2-Band 
EQ 



Lin. 



Balance D 
<^ KE 



^j{ 



Delay W Modulation 



' Feedback 
L Feedback 



Delay [^-[Modulation f jCr Balance 



R in- 



■^0^ 




2-Band 
EQ 



-R out 



►Lout 



Balance W 



s W 



Balance D 



2-Band 
EQ 



-Rout 



Parameter 


Value 


Explanation 


Delay Left 


0-1300 ms, 
note 


Adjusts the time until the delay sound 
is heard. 


Delay Right 


Feedback 
Mode 


NORMAL, 
CROSS 


Selects the way in which delay sound is 
fed back into the effect (See the figures 
above.) 


Feedback # 


-98- +98 % 


Adjusts the amount of the delay sound 
that's fed back into the effect. Negative 
(-) settings invert the phase. 


HF Damp 


200-8000 Hz, 
BYPASS 


Adjusts the frequency above which 
sound fed back to the effect is filtered 
out. If you don't want to filter out any 
high frequencies, set this parameter to 
BYPASS. 


Rate* 


0.05-10.00 Hz, 
note 


Frequency of modulation 


Depth 


0-127 


Depth of modulation 


Phase 


0-180 deg 


Spatial spread of the sound 


Low Gain 


-15- +15 dB 


Gain of the low frequency range 


High Gain 


-15- +15 dB 


Gain of the high frequency range 


Balance # 


D100:0W- 
D0:100W 


Volume balance between the direct 
sound (D) and the delay sound (W) 


Level 


0-127 


Output level 



47: 3TAP PAN DELAY 

Produces three delay sounds; center, left and right. 



Lin- 



Balance D 



GH^ Trip 



Rin- 



- Left Tap 



Triple Tap Delay |-|- Center Tap 

E 



T 



Feedback 



-Right Tap 




2-Band 
EQ 



-Lout 



Balance W 



Balance W 



Balance D 



2-Band 
EQ 



-Rout 



Parameter 


Value 


Explanation 


Delay Left/ 
Right/Center 


0-2600 ms, 
note 


Adjusts the time until the delay sound 
is heard. 


Center 
Feedback # 


-98- +98 % 


Adjusts the amount of the delay sound 
that's fed back into the effect. Negative 
(-) settings invert the phase. 


HF Damp 


200-8000 Hz, 
BYPASS 


Adjusts the frequency above which 
sound fed back to the effect is filtered 
out. If you do not want to filter out any 
high frequencies, set this parameter to 
BYPASS. 


Left/Right/ 
Center Level 


0-127 


Volume of each delay 


Low Gain 


-15- +15 dB 


Gain of the low frequency range 


High Gain 


-15- +15 dB 


Gain of the high frequency range 


Balance # 


D100:0W- 
D0:100W 


Volume balance between the direct 
sound (D) and the delay sound (W) 


Level 


0-127 


Output level 



48: 4TAP PAN DELAY 

This effect has four delays. 



Lin- 



R in- 




Feedback 

-^ 



I Delay 1 

r- Delay 2 



Balance D 



Quadruple Tap Delay 
L Delay 3 
I — Delay 4 





Balance D 
Stereo location of each delay 



Parameter 


Value 


Explanation 


Delay 1-A 
Time 


0-2600 ms, 
note 


Adjusts the time until the delay sound 
is heard. 


Delay 1 
Feedback # 


-98- +98 % 


Adjusts the amount of the delay sound 
that's fed back into the effect. Negative 
(-) settings invert the phase. 


HF Damp 


200-8000 Hz, 
BYPASS 


Adjusts the frequency above which 
sound fed back to the effect is filtered 
out. If you do not want to filter out any 
high frequencies, set this parameter to 
BYPASS. 


Delay 1-4 
Level 


0-127 


Volume of each delay 


Low Gain 


-15- +15 dB 


Gain of the low frequency range 


High Gain 


-15- +15 dB 


Gain of the high frequency range 


Balance # 


D100:0W- 
D0:100W 


Volume balance between the direct 
sound (D) and the delay sound (W) 


Level 


0-127 


Output level 




144 




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Adding Effects 



49: MULTI TAP DELAY 

This effect provides four delays. Each of the Delay Time parameters 
can be set to a note length based on the selected tempo. You can also 
set the panning and level of each delay sound. 



Balance D 



Lin 



R in 




Lout 



Rout 



Balance D 



Parameter 


Value 


Explanation 


Delay 1-4 
Time 


0-2600 ms, 
note 


Adjusts the time until Delays 1-4 are 
heard. 


Delay 1 
Feedback # 


-98- +98 % 


Adjusts the amount of the delay sound 
that's fed back into the effect. Negative 
(-) settings invert the phase. 


HF Damp 


200-8000 Hz, 
BYPASS 


Adjusts the frequency above which 
sound fed back to the effect is filtered 
out. If you don't want to filter out any 
the high frequencies, set this parameter 
to BYPASS. 


Delay 1^ 
Pan 


L64-63R 


Stereo location of Delays 1-4 


Delay 1-4 
Level 


0-127 


Output level of Delays 1-4 


Low Gain 


-15- +15 dB 


Gain of the low frequency range 


High Gain 


-15- +15 dB 


Gain of the high frequency range 


Balance # 


DlOOiOW- 
DOilOOW 


Volume balance between the direct 
sound (D) and the effect sound (W) 


Level 


0-127 


Output level 



50: REVERSE DELAY 

This is a reverse delay that adds a reversed and delayed sound to the 
input sound. A tap delay is connected immediately after the reverse 
delay. 



Lin 



Feedback , 



&-Q ] Rev. Delay 
t 



R in- 




■ Lout 



-R out 



Parameter 


Value 


Explanation 


Threshold 


0-127 


Volume at which the reverse 
delay will begin to be applied 


Rev Delay 
Time 


0-1300 ms, note 


Delay time from when sound 
is input into the reverse delay 
until the delay sound is heard 


Rev Delay 
Feedback # 


-98- +98% 


Proportion of the delay sound 
that is to be returned to the in- 
put of the reverse delay (nega- 
tive values invert the phase) 


Rev Delay HF 
Damp 


200-8000 Hz, 
BYPASS 


Frequency at which the high- 
frequency content of the re- 
verse-delayed sound will be 
cut (BYPASS: no cut) 


Rev Delay Pan 


L64-63R 


Panning of the reverse delay 
sound 


Rev Delay 
Level 


0-127 


Volume of the reverse delay 
sound 


Delay 1 - 3 
Time 


0-1300 ms, note 


Delay time from when sound 
is input into the tap delay un- 
til the delay sound is heard 



Parameter 


Value 


Explanation 


Delay 3 Feed- 
back* 


-98- +98% 


Proportion of the delay sound 
that is to be returned to the in- 
put of the tap delay (negative 
values invert the phase) 


Delay HF 
Damp 


200-8000 Hz, BY- 
PASS 


Frequency at which the low- 
frequency content of the tap 
delay sound will be cut (BY- 
PASS: no cut) 


Delay 1 Pan', 
'Delay 2 Pan 


L64-63R 


Panning of the tap delay 
sounds 


Delay 1 Level', 
'Delay 2 Level 


0-127 


Volume of the tap delay 
sounds 


Low Gain 


-15- +15 dB 


Amount of boost/cut for the 
low-frequency range 


High Gain 


-15- +15 dB 


Amount of boost/cut for the 
high-frequency range 


Balance # 


D100:0W-D0:100W 


Volume balance of the origi- 
nal sound (D) and delay 
sound (W) 


Level 


0-127 


Output volume 



51: SHUFFLE DELAY 

Adds a shuffle to the delay sound, giving the sound a bouncy delay 
effect with a swing feel. 



Lin 



R in 




• Lout 



-Rout 



Parameter 


Value 


Explanation 


Delay Time # 


0-2600 ms, 
note 


Adjusts the time until the delay sound is 
heard. 


Shuffle 
Rate* 


0-100 % 


Adjusts the ratio (as a percentage) of the 
time that elapses before Delay B sounds 
relative to the time that elapses before the 
Delay A sounds. 

When set to 100%, the delay times are 

the same. 


Acceleration 


0-15 


Adjusts the time over which the Delay 
Time changes from the current setting to 
its specified new setting. 


Feedback * 


-98- +98 % 


Adjusts the amount of the delay that's 
fed back into the effect. Negative (-) set- 
tings invert the phase. 


HF Damp 


200-8000 Hz, 
BYPASS 


Adjusts the frequency above which 
sound fed back to the effect is filtered 
out. If you don't want to filter out any 
high frequencies, set this parameter to 
BYPASS. 


Pan A/B 


L64-63R 


Stereo location of Delay A/B 


Level A/B 


0-127 


Volume of delay A/B 


Low Gain 


-15- +15 dB 


Gain of the low frequency range 


High Gain 


-15- +15 dB 


Gain of the high frequency range 


Balance # 


D100:0W- 
D0:100W 


Volume balance between the direct 
sound (D) and the effect sound (W) 


Level 


0-127 


Output level 




145 




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Adding Effects 



52: 3D DELAY 

This applies a 3D effect to tfie delay sound. The delay sound will be 
positioned 90 degrees left and 90 degrees right. 



Level 
I — I 3D Delay irn > — 




2-Band 
EQ 



Lout 



©-©- H~3D' 



Delay C \ - 



r- 



Feedback 
I — I 3D Delay "R~| - 




2-Band 
EQ 



Rout 



Parameter 


Value 


Explanation 


Delay Left 


0-2600 ms, note 


Adjusts the delay time from 
the direct sound until the de- 
lay sound is heard. 


Delay Right 


Delay Center 


Center 
Feedback # 


-98- +98 % 


Adjusts the proportion of the 
delay sound that is fed back 
into the effect. Negative (-) 
settings will invert the phase. 


HF Damp 


200-8000 Hz, BYPASS 


Adjusts the frequency above 
which sound fed back to the 
effect will be cut. If you do not 
want to cut the high frequen- 
cies, set this parameter to BY- 
PASS. 


Left Level 


0-127 


Output level of the delay 
sound 


Right Level 


Center Level 


Output Mode 


SPEAKER, PHONES 


Adjusts the method that will 
be used to hear the sound that 
is output to the OUTPUT 
jacks. The optimal 3D effect 
will be achieved if you select 
SPEAKER when using speak- 
ers, or PHONES when using 
headphones. 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Balance # 


D100:0W-D0:100W 


Volume balance between the 
direct sound (D) and the effect 
sound (W) 


Level 


0-127 


Output Level 



53: TIME CTRL DELAY 

A stereo delay in which the delay time can be varied smoothly. 



Lin- 




Time Ctrl Delay 




2-Band EQ 



► Lout 



R in- 




Feedback 
Feedback 

* 



Time Ctrl Delay 



Pan L 



Pan R 




2-Band EQ 



-Rout 



Parameter 


Value 


Explanation 


Delay Time # 


0-1300 ms, note 


Adjusts the time until the delay 
is heard. 


Acceleration 


0-15 


Adjusts the time over which the 

Delay Time changes from the 

current setting to a specified new 

setting. 

The rate of change for the Delay 

Time directly affects the rate of 

pitch change. 


Feedback # 


-98- +98 % 


Adjusts the amount of the delay 
that's fed back into the effect. 
Negative {-) settings invert the 
phase. 



Parameter 


Value 


Explanation 


HF Damp 


200-8000 Hz, 
BYPASS 


Adjusts the frequency above 
which sound fed back to the ef- 
fect is filtered out. If you do not 
want to filter out any high fre- 
quencies, set this parameter to 
BYPASS. 


Low Gain 


-15- +15 dB 


Gain of the low frequency range 


High Gain 


-15- +15 dB 


Gain of the high frequency range 


Balance # 


D100:0W- 
DOTOOW 


Volume balance between the di- 
rect sound (D) and the delay 
sound (W) 


Level 


0-127 


Output level 



54: LONG TIME CTRL DELAY 

A delay in which the delay time can be varied smoothly, and 
allowing an extended delay to be produced. 



Lin 



R in- 




Balance D 



2-Band 
EQ 



Time Control Delay 



Feedback 




Balance D 



2-Band 
EQ 



-Lout 



-Rout 



Parameter 


Value 


Explanation 


Delay Time # 


0-2600 ms, 
note 


Adjusts the time until the delay is heard. 


Acceleration 


0-15 


Adjusts the time over which the Delay 
Time changes from the current setting to 
a specified new setting. 

The rate of change for the Delay Time 
directly affects the rate of pitch 
change. 


Feedback # 


-98- +98 % 


Adjusts the amount of the delay that's 
fed back into the effect. Negative {-) set- 
tings invert the phase. 


HF Damp 


200-8000 Hz, 
BYPASS 


Adjusts the frequency above which 
sound fed back to the effect is filtered 
out. If you do not want to filter out any 
high frequencies, set this parameter to 
BYPASS. 


Pan# 


L64-63R 


Stereo location of the delay 


Low Gain 


-15- +15 dB 


Gain of the low frequency range 


High Gain 


-15- +15 dB 


Gain of the high frequency range 


Balance # 


DlOOiOW- 
D0:100W 


Volume balance between the direct 
sound (D) and the delay sound (W) 


Level 


0-127 


Output level 



55: TAPE ECHO 

A virtual tape echo that produces a realistic tape delay sound. This 
simulates the tape echo section of a Roland RE-201 Space Echo. 



Lin 



R in- 




■^ 



Direct Level 



Tape Echo 




■^ 




Lout 
Echo Level 

Echo Level 
Rout 



Direct Level 



Parameter 


Value 


Explanation 


Mode 


S, M, L, 
S+M, S+L, 
M+L, 
S+M+L 


Combination of playback heads to use 
Select from three different heads with 
different delay times. 
S: short IVI: middle L: long 


Repeat Rate # 


0-127 


Tape speed 

Increasing this value will shorten the 
spacing of the delayed sounds. 


Intensity # 


0-127 


Amount of delay repeats 


Bass 


-15- +15 dB 


Boost/cut for the lower range of the echo 
sound 




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(^ 



Adding Effects 



Parameter 


Value 


Explanation 


Treble 


-15- +15 dB 


Boost/cut for the upper range of the echo 
sound 


Head S Pan 


L64-63R 


Independent panning for the short, mid- 
dle, and long playback heads 


Head M Pan 


Head L Pan 


Tape Distor- 
tion 


0-5 


Amount of tape-dependent distortion to 

be added 

This simulates the slight tonal changes 
that can be detected by signal-analysis 
equipment. Increasing this value will 
increase the distortion. 


Wow/Flutter 
Rate 


0-127 


Speed of wow/flutter (complex variation 
in pitch caused by tape wear and rota- 
tional irregularity) 


Wow/Flutter 
Depth 


0-127 


Depth of wow/flutter 


Echo Level # 


0-127 


Volume of the echo sound 


Direct Level # 


0-127 


Volume of the original sound 


Level 


0-127 


Output level 



56: LOFI NOISE 

In addition to a Lo-Fi effect, this adds various types of noise such as 
white noise and disc noise. 



Lin 







rf 


2-Band 
EQ 


\ 




r 


W- 


Lo-Fi ©— ^ 






' 






Noise Gen. -^ 


1 










Lo-Fi C 


s , 


/' 


^^ 






V 


2-Band 
EQ 






fj 



>Lout 



-Rout 



Parameter 


Value 


Explanation 


LoFi Type 


1-9 


Degrades the sound quality. The sound 
quality grows poorer as this value is in- 
creased. 


Post Filter 
Type 


OFF, LPF, 
HPF 


Type of filter 

OFF: no filter is used 

LPF: cuts the frequency range above 

the Cutoff 

HPF: cuts the frequency range below 

the Cutoff 


Post Filter 
Cutoff 


200-8000 Hz 


Center frequency of the filter 


W/P Noise 
Type 


WHITE, 
PINK 


Switch between white noise and pink 
noise. 


W/P Noise 
LPF 


200-8000 Hz, 
BYPASS 


Center frequency of the low pass filter 
applied to the white/pink noise (BY- 
PASS: no cut) 


W/P Noise 
Level # 


0-127 


Volume of the white/pink noise 


Disc Noise 
Type 


LP, EP, SP, 
RND 


Type of record noise 

The frequency at which the noise is 
heard depends on the selected type. 


Disc Noise 
LPF 


200-8000 Hz, 
BYPASS 


Adjusts the cutoff frequency of the low 
pass filter applied to the record noise. If 
you don't want to filter out any high fre- 
quencies, set this parameter to BYPASS. 


Disc Noise 
Level # 


0-127 


Volume of the record noise 


Hum Noise 
Type 


50 Hz, 60 Hz 


Frequency of the hum noise 


Hum Noise 
LPF 


200-8000 Hz, 
BYPASS 


Center frequency of the low pass filter 
applied to the hum noise (BYPASS: no 
cut) 


Hum Noise 
Level # 


0-127 


Volume of the hum noise 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Balance # 


D100:0W- 
D0:100W 


Volume balance between the direct 
sound (D) and the effect sound (W) 


Level 


0-127 


Output level 



57: LOFI COMPRESS 

This is an effect that intentionally degrades the sound quality for 
creative purposes. 



L in — Compressor 



Lo-Fi 



2-Band 
EQ 



R in — Compressor 



Lo-Fi 



2-Band 
EQ 



Lout 



Rout 



Parameter 


Value 


Explanation 


Pre Filter 
Type 


1-6 


Selects the type of filter applied to the 
sound before it passes through the Lo-Fi 
effect. 


LoFi Type 


1-9 


Degrades the sound quality. The sound 
quality grows poorer as this value is in- 
creased. 


Post Filter 
Type 


OFF, LPF, 
HPF 


Type of filter 

OFF: no filter is used 

LPF: cuts the frequency range above 

the Cutoff 

HPF: cuts the frequency range below 

the Cutoff 


Post Filter 
Cutoff 


200-8000 Hz 


Basic frequency of the Post Filter 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Balance # 


D100:0W- 
D0:100W 


Volume balance between the direct 
sound (D) and the effect sound (W) 


Level # 


0-127 


Output level 



58: LOFI RADIO 

In addition to a Lo-Fi effect, this effect also generates radio noise. 



Lin- 



^ -■ 1 n Fi 1 


























Lo-Pi L 


' * 




■ ■ r 



Zf^ 



2-Band 
EQ 



-Lout 



R in- 



2-Band 
EQ 



-Rout 



Parameter 


Value 


Explanation 


LoFi Type 


1-9 


Degrades the sound quality. The sound 
quality grows poorer as this value is in- 
creased. 


Post Filter 
Type 


OFF, LPF, 
HPF 


Type of filter 

OFF: no filter is used 

LPF: cuts the frequency range above 

the Cutoff 

HPF: cuts the frequency range below 

the Cutoff 


Post Filter 
Cutoff 


200-8000 Hz 


Basic frequency of the Post Filter 


Radio 
Detune # 


0-127 


Simulates the tuning noise of a radio. As 
this value is raised, the tuning drifts fur- 
ther. 


Radio Noise 
Level # 


0-127 


Volume of the radio noise 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Balance # 


D100:0W- 
D0:100W 


Volume balance between the direct 
sound (D) and the effect sound (W) 


Level 


0-127 


Output level 




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Adding Effects 




59: TELEPHONE 



Lin- 
Rin- 



Telephone 



Telephone 



-*- L out 
-^ Rout 



Parameter 


Value 


Explanation 


Voice 
Quality # 


0-15 


Audio quality of the telephone voice 


Treble 


-15- +15 dB 


Bandwidth of the telephone voice 


Balance # 


D100:0- 
D0:100W 


Volume balance between the direct 
sound (D) and the effect sound (W) 


Level 


0-127 


Output level 



60: PHONOGRAPH 

Simulates a sound recorded on an analog record and played back on 
a record player. This effect also simulates the various types of noise 
that are typical of a record, and even the rotational irregularities of 
an old turntable. 



Lin 



t: 



Balance D 



R in- 



I 



Phonograph 
' — I Phonograph 



— /Tb. 



-^ Lout 



■^C^ 



Balance W 
Balance W 



-^ Rout 



Balance D 



Parameter 


Value 


Explanation 


Signal 
Distortion 


0-127 


Depth of distortion 


Frequency 
Range 


0-127 


Frequency response of the playback sys- 
tem 

Decreasing this value will produce the 
impression of an old system with a 
poor frequency response. 


Disc Type 


LP, EP, SP 


Rotational speed of the turntable 
This will affect the frequency of the 
scratch noise. 


Scratch 
Noise Level 


0-127 


Amount of noise due to scratches on the 
record 


Dust Noise 
Level 


0-127 


Volume of noise due to dust on the 
record 


Hiss Noise 
Level 


0-127 


Volume of continuous "hiss" 


Total Noise 

Level # 


0-127 


Volume of overall noise 


Wow 


0-127 


Depth of long-cycle rotational irregulari- 
ty 


Flutter 


0-127 


Depth of short-cycle rotational irregular- 
ity 


Random 


0-127 


Depth of indefinite-cycle rotational irreg- 
ularity 


Total Wow/ 
Flutter # 


0-127 


Depth of overall rotational irregularity 


Balance # 


DlOOiOW- 
DOilOOW 


Volume balance between the direct 
sound (D) and the effect sound (W) 


Level 


0-127 


Output level 



61: PITCH SHIFTER 
(Feedback Pitch Shifter) 



A stereo pitch shifter. 
Lin. 






Pitch Shifter 




2-Band EQ 



Pitch Shifter 



:£l^— 2-Band EQ 



Lout 



Rout 



Parameter 


Value 


Explanation 


Coarse #1 


-24- +12 semi 


Adjusts the pitch of the pitch 
shifted sound in semitone steps. 


Fine#l 


-100- +100 cent 


Adjusts the pitch of the pitch 
shifted sound in 2-cent steps. 


Delay Time 


0-1300 ms, note 


Adjusts the delay time from the 
direct sound until the pitch shift- 
ed sound is heard. 


Feedback # 


-98- +98 % 


Adjusts the proportion of the 
pitch shifted sound that is fed 
back into the effect. Negative (-) 
settings will invert the phase. 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Balance # 


D100:0W- 
D0:100W 


Volume balance between the di- 
rect sound (D) and the pitch 
shifted sound (W) 


Level 


0-127 


Output Level 



62: 2VOICE PITCH SHIFTER 

Shifts the pitch of the original sound. This 2-voice pitch shifter has 
two pitch shifters, and can add two pitch shifted sounds to the 
original sound. 



Lin 



Balance D 



R in 




Balance D 



Parameter 


Value 


Explanation 


Pitch 1: 
Coarse #1 


-24-+ 12 semi 


Adjusts the pitch of Pitch Shift 1 
in semitone steps. 


Pitch l:Fine #1 


-100-+100 cent 


Adjusts the pitch of Pitch Shift 
Pitch 1 in 2-cent steps. 


Pitch l:Delay 


0-1300 ms, note 


Adjusts the delay time from the 
direct sound until the Pitch Shift 
1 sound is heard. 


Pitch l:Feed- 
back# 


-98- +98 % 


Adjusts the proportion of the 
pitch shifted sound that is fed 
back into the effect. Negative (-) 
settings will invert the phase. 


Pitch l:Pan # 


L64-63R 


Stereo location of the Pitch Shift 1 
sound 


Pitch ITevel 


0-127 


Volume of the Pitch Shiftl sound 


Pitch 2: 
Coarse #2 


-24-+12 semi 


Settings of the Pitch Shift 2 

sound. 

The parameters are the same as 

for the Pitch Shift 1 sound. 


Pitch 2:Fine #2 


-100-+100 cent 


Pitch 2:Delay 


0-1300 ms, note 


Pitch 2:Feed- 
back# 


-98- +98 % 


Pitch 2:Pan # 


L64-63R 


Pitch 2:Level 


0-127 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 



148 




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Adding Effects 



(^ 



Parameter 


Value 


Explanation 


Level Balance 


A100:0B-A0:100B 


Volume balance between the 
Pitch Shift 1 and Pitch Shift 2 

sounds 


Balance 


D100:0W-D0:100W 


Volume balance between the di- 
rect sound (D) and the pitch 
shifted sound (W) 


Level 


0-127 


Output Level 



63: STEP PITCH SHIFTER 

A pitch shifter in which the amount of pitch shift is varied by a 16- 
step sequence. 



Lin ■ 



t: 



step Pitch Shifter 



ZT^ 



2-Band 
EQ 



Rin— / 



Step Pitch Shifter 



^ 



if!— 



2-Band 
EQ 



Lout 



R out 



Parameter 


Value 


Explanation 


Step 01-16 


-24-+12 semi 


Amount of pitch shift at each 
step (semitone units) 


Rate# 


0.05-10.00 Hz, note 


Rate at which the 16-step se- 
quence will cycle 


Attack # 


0-127 


Speed at which the amount of 
pitch shift changes between 
steps 


Gate Time # 


0-127 


Duration of the pitch shifted 
sound at each step 


Fine 


-100- +100 cent 


Pitch shift adjustment for all 
steps {2-cent units) 


Delay Time 


0-1300 ms, note 


Delay time from the original 
sound until the pitch-shifted 
sound is heard 


Feedback # 


-98- +98% 


Proportion of the pitch-shift- 
ed sound that is to be returned 
to the input (negative values 
invert the phase) 


Low Gain 


-15- +15 dB 


Amount of boost/cut for the 
low-frequency range 


High Gain 


-15- +15 dB 


Amount of boost/cut for the 
high-frequency range 


Balance # 


D100:0W-D0:100W 


Volume balance of the origi- 
nal sound (D) and pitch-shift- 
ed sound (W) 


Level 


0-127 


Output volume 



64: REVERB 

Adds reverberation to the sound, simulating an acoustic space. 



Lin 



R in 




Lout 



Rout 



Balance D 



Parameter 


Value 


Explanation 


Type 


ROOMl, 


Type of reverb 




ROOM2, 


ROOMl : dense reverb with 




STAGEl, 


short decay 




STAGE2, 


R00M2: sparse reverb with 




HALLl, HALL2 


short decay 

STAGE1 : reverb with greater 

late reverberation 

STAGE2: reverb with strong 

early reflections 

HALL1 : reverb with clear rever- 

berance 

HALL2: reverb with rich rever- 

berance 



Parameter 


Value 


Explanation 


Pre Delay 


0.0-100.0 ms 


Adjusts the delay time from the di- 
rect sound until the reverb sound 
is heard. 


Time# 


0-127 


Time length of reverberation 


HF Damp 


200-8000 Hz, 


Adjusts the frequency above 




BYPASS 


which the reverberant sound will 

be cut. 

As the frequency is set lower, 
more of the high frequencies 
will be cut, resulting in a softer 
and more muted reverberance. 
If you do not want to cut the 
high frequencies, set this pa- 
rameter to BYPASS. 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Balance # 


D100:0W- 


Volume balance between the direct 




D0:100W 


sound (D) and the reverb sound 

(W) 


Level 


0-127 


Output Level 



65: GATED REVERB 

This is a special type of reverb in which the reverberant sound is cut 
off before its natural length. 



Lin 



-^0^ 



Balance D 



Gated Reverb 




2-Band 
EQ 



R in- 



-^ 




Balance W 
Balance W 



Balance D 



2-Band 
EQ 



Lout 



Rout 



Parameter 


Value 


Explanation 


Type 


NORMAL, REVERSE, 


Type of reverb 




SWEEPl, SWEEP2 


NORMAL: conventional 
gated reverb 

REVERSE: backwards re- 
verb 

SWEEP1 : the reverberant 
sound moves from right to 
left 

SWEEP2: the reverberant 
sound moves from left to 
right 


Pre Delay 


0.0-100.0 ms 


Adjusts the delay time from 
the direct sound until the re- 
verb sound is heard. 


Gate Time 


5-500 ms 


Adjusts the time from when 
the reverb is heard until it 
disappears. 


Low Gain 


-15- +15 dB 


Gain of the low range 


High Gain 


-15- +15 dB 


Gain of the high range 


Balance # 


D100:0W-D0:100W 


Volume balance between the 
direct sound (D) and the re- 
verb sound (W) 


Level # 


0-127 


Output Level 




149 




JUNO-G_e.book ISO'^-y 2006^2^130 ^BIH ^1»2a$445j- 



Adding Effects 



66: OVERDRIVE ^ CHORUS 



Lin 



R in 




Balance D 



Parameter 


Value 


Explanation 


Overdrive 
Drive # 


0-127 


Degree of distortion 

Also changes the volume. 


Overdrive 
Pan# 


L64-63R 


Stereo location of the overdrive 
sound 


Chorus Pre 
Delay 


0.0-100.0 ms 


Adjusts the delay time from the 
direct sound until the chorus 
sound is heard. 


Chorus Rate # 


0.05-10.00 Hz, note 


Frequency of modulation 


Chorus Depth 


0-127 


Depth of modulation 


Chorus 
Balance # 


D100:0W-D0:100W 


Adjusts the volume balance be- 
tween the sound that is sent 
through the chorus (W) and the 
sound that is not sent through 
the chorus (D). 


Level 


0-127 


Output Level 



67: OVERDRIVE ^ FLANGER 



Lin 



R in 



Balance D 

^0^ — »-ff>-^Lout 

Balance W 




Balance D 



Parameter 


Value 


Explanation 


Overdrive 
Drive # 


0-127 


Degree of distortion 

Also changes the volume. 


Overdrive 
Pan# 


L64-63R 


Stereo location of the overdrive 
sound 


Flanger Pre 
Delay 


0.0-100.0 ms 


Adjusts the delay time from 
when the direct sound begins 
until the flanger sound is heard. 


Flanger Rate # 


0.05-10.00 Hz, note 


Frequency of modulation 


Flanger Depth 


0-127 


Depth of modulation 


Flanger 
Feedback # 


-98- +98 % 


Adjusts the proportion of the 
flanger sound that is fed back 
into the effect. Negative (-) set- 
tings will invert the phase. 


Flanger 
Balance # 


D100:0W-D0:100W 


Adjusts the volume balance be- 
tween the sound that is sent 
through the flanger (W) and the 
sound that is not sent through 
the flanger (D). 


Level 


0-127 


Output Level 



68: OVERDRIVE ^ DELAY 



Lin 



R in 




Balance D 



Parameter 


Value 


Explanation 


Overdrive 
Drive # 


0-127 


Degree of distortion 

Also changes the volume. 


Overdrive Pan # 


L64-63R 


Stereo location of the over- 
drive sound 


Delay Time 


0-2600 ms, note 


Adjusts the delay time from 
the direct sound until the de- 
lay sound is heard. 


Delay 
Feedback # 


-98- +98 % 


Adjusts the proportion of the 
delay sound that is fed back 
into the effect. Negative {-) 
settings will invert the phase. 


Delay HF Damp 


200-8000 Hz, 
BYPASS 


Adjusts the frequency above 
which sound fed back to the 
effect will be cut. If you do not 
want to cut the high frequen- 
cies, set this parameter to BY- 
PASS. 


Delay Balance # 


D100:0W-D0:100W 


Adjusts the volume balance 
between the sound that is sent 
through the delay (W) and the 
sound that is not sent through 
the delay (D). 


Level 


0-127 


Output Level 



69: DISTORTION ^ CHORUS 

The parameters are essentially the same as in "66: OVERDRIVE -> 

CHORUS," with the exception of the following two. 

Overdrive Drive -> Distortion Drive, Overdrive Pan — > Distortion Pan 



Lin 



R in 




Balance W 
Rout 



Balance D 



70: DISTORTION ^ FLANGER 

The parameters are essentially the same as in "67: OVERDRIVE — > 

FLANGER," with the exception of the following two. 

Overdrive Drive — > Distortion Drive, Overdrive Pan — > Distortion Pan 



Lin 



Rin 



Balance D 




Balance D 



71: DISTORTION ^ DELAY 

The parameters are essentially the same as in "68: OVERDRIVE -> 

DELAY," with the exception of the following two. 

Overdrive Drive — > Distortion Drive, Overdrive Pan — > Distortion Pan 



Lin 



Rin 




Lout 



Balance W 



Balance W 



Feedback 

,0^^ — *^)-^Rout 
Balance D 




150 




JUNO-G_e.book 151 '^-y 2 00 6^2^130 ^BIH ^lS2a$4 45J- 



Adding Effects 



72: ENHANCER ^ CHORUS 

Lin-tH Enhancer hC^*€M SO^ 



T 



Mix > 



Rin-l-|~Eri 



hancer h C^*0 

Mix 



Balance D 
^ 1 Chorus 

^ 

Balance D 




Parameter 


Value 


Explanation 


Enhancer Sens # 


0-127 


Sensitivity of the enhancer 


Enhancer Mix # 


0-127 


Level of the overtones generat- 
ed by the enhancer 


Chorus Pre 
Delay 


0.0-100.0 ms 


Adjusts the delay time from the 
direct sound until the chorus 
sound is heard. 


Chorus Rate # 


0.05-10.00 Hz, note 


Frequency of modulation 


Chorus Depth 


0-127 


Depth of modulation 


Chorus 
Balance # 


D100:0W- 
D0:100W 


Adjusts the volume balance be- 
tween the sound that is sent 
through the chorus (W) and the 
sound that is not sent through 
the chorus (D). 


Level 


0-127 


Output Level 



73: ENHANCER ^ FLANGER 



Lin-^- |~Enhancer | -jO^^ 

Mix > 



R in-l-l En 



nhancer -jC^»g> 
Mix 



Balance D 
-iC^^ *@-^Lout 

Balance W 
Balance W 

■iO^^ *<©-^Rout 

Balance D 




Parameter 


Value 


Explanation 


Enhancer Sens # 


0-127 


Sensitivity of the enhancer 


Enhancer Mix # 


0-127 


Level of the overtones generat- 
ed by the enhancer 


Flanger Pre 
Delay 


0.0-100.0 ms 


Adjusts the delay time from 
when the direct sound begins 
until the flanger sound is heard. 


Flanger Rate # 


0.05-10.00 Hz, note 


Frequency of modulation 


Flanger Depth 


0-127 


Depth of modulation 


Flanger 
Feedback # 


-98- +98 % 


Adjusts the proportion of the 
flanger sound that is fed back 
into the effect. Negative (-) set- 
tings will invert the phase. 


Flanger 
Balance # 


D100:0W- 
D0:100W 


Adjusts the volume balance be- 
tween the sound that is sent 
through the flanger (W) and the 
sound that is not sent through 
the flanger (D). 


Level 


0-127 


Output Level 



74: ENHANCER ^ DELAY 

Lin 



T 



Enhancer hC^*€> 



Mix > 



Rin-i-|~Eri 



hancer h C^*^)' 

Mix 




Balance D 



Parameter 


Value 


Explanation 


Enhancer Sens # 


0-127 


Sensitivity of the enhancer 


Enhancer Mix # 


0-127 


Level of the overtones gener- 
ated by the enhancer 


Delay Time 


0-2600 ms, note 


Adjusts the delay time from 
the direct sound until the de- 
lay sound is heard. 


Delay 
Feedback # 


-98- +98 % 


Adjusts the proportion of the 
delay sound that is fed back 
into the effect. Negative {-) 
settings will invert the phase. 


Delay HF Damp 


200-8000 Hz, 
BYPASS 


Adjusts the frequency above 
which sound fed back to the 
effect will be cut. If you do not 
want to cut the high frequen- 
cies, set this parameter to BY- 
PASS. 


Delay Balance # 


D100:0W-D0:100W 


Adjusts the volume balance 
between the sound that is sent 
through the delay (W) and the 
sound that is not sent through 
the delay (D). 


Level 


0-127 


Output Level 



75: CHORUS ^ DELAY 



Lin- 



R in 



Balance D 
-<^ KE 




Balance D 



Balance D 



Parameter 


Value 


Explanation 


Chorus Pre 
Delay 


0.0-100.0 ms 


Adjusts the delay time from the 
direct sound until the chorus 
sound is heard. 


Chorus Rate # 


0.05-10.00 Hz, note 


Frequency of modulation 


Chorus Depth 


0-127 


Depth of modulation 


Chorus 
Balance # 


D100:0W-D0:100W 


Volume balance between the di- 
rect sound (D) and the chorus 
sound (W) 


Delay Time 


0-2600 ms, note 


Adjusts the delay time from the 
direct sound until the delay 
sound is heard. 


Delay 
Feedback # 


-98- +98 % 


Adjusts the proportion of the 
delay sound that is fed back into 
the effect. Negative (-) settings 
will invert the phase. 


Delay HF 
Damp 


200-8000 Hz, 
BYPASS 


Adjusts the frequency above 
which sound fed back to the ef- 
fect will be cut. If you do not 
want to cut the high frequen- 
cies, set this parameter to BY- 
PASS. 


Delay 
Balance # 


D100:0W-D0:100W 


Adjusts the volume balance be- 
tween the sound that is sent 
through the delay (W) and the 
sound that is not sent through 
the delay (D). 


Level 


0-127 


Output Level 




151 




JUNO-G_e.book 152 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



Adding Effects 



76: FLANGER ^ DELAY 



Lin 



R in 



Balance D 




DC *€> 

Feedback /, 



Flanger 



Balance D 



A I DC 

3 



Balance W 




Balance W, 



Balance D 



Parameter 


Value 


Explanation 


Flanger Pre 
Delay 


0.0-100.0 ms 


Adjusts the delay time from 
when the direct sound begins 
until the flanger sound is 
heard. 


Flanger Rate # 


0.05-10.00 Hz, note 


Frequency of modulation 


Flanger Depth 


0-127 


Depth of modulation 


Flanger 
Feedback # 


-98- +98 % 


Adjusts the proportion of the 
flanger sound that is fed back 
into the effect. Negative (-) set- 
tings will invert the phase. 


Flanger 
Balance # 


D100:0W-D0:100W 


Volume balance between the 
direct sound (D) and the 
flanger sound (W) 


Delay Time 


0-2600 ms, note 


Adjusts the delay time from 
the direct sound until the delay 
sound is heard. 


Delay 
Feedback # 


-98- +98 % 


Adjusts the proportion of the 
delay sound that is fed back 
into the effect. Negative (-) set- 
tings will invert the phase. 


Delay HF 
Damp 


200-8000 Hz, 
BYPASS 


Adjusts the frequency above 
which sound fed back to the ef- 
fect will be cut. If you do not 
want to cut the high frequen- 
cies, set this parameter to BY- 
PASS. 


Delay 
Balance # 


D100:0W-D0:100W 


Adjusts the volume balance be- 
tween the sound that is sent 
through the delay (W) and the 
sound that is not sent through 
the delay (D). 


Level 


0-127 


Output Level 



77\ CHORUS ^ FLANGER 



Lin 



Balance D 



Balance D 
-C^ >^ 



R in' 




Balance D 



Balance D 



Parameter 


Value 


Explanation 


Chorus Pre 
Delay 


0.0-100.0 ms 


Adjusts the delay time from the 
direct sound until the chorus 
sound is heard. 


Chorus Rate # 


0.05-10.00 Hz, note 


Modulation frequency of the 
chorus effect 


Chorus Depth 


0-127 


Modulation depth of the chorus 
effect 


Chorus 
Balance # 


D100:0W-D0:100W 


Volume balance between the di- 
rect sound (D) and the chorus 
sound (W) 


Flanger Pre 
Delay 


0.0-100.0 ms 


Adjusts the delay time from 
when the direct sound begins 
until the flanger sound is heard. 


Flanger Rate # 


0.05-10.00 Hz, note 


Modulation frequency of the 
flanger effect 


Flanger Depth 


0-127 


Modulation depth of the flanger 
effect 



Parameter 


Value 


Explanation 


Flanger 
Feedback # 


-98- +98 % 


Adjusts the proportion of the 
flanger sound that is fed back 
into the effect. Negative (-) set- 
tings will invert the phase. 


Flanger 
Balance # 


D100:0W-D0:100W 


Adjusts the volume balance be- 
tween the sound that is sent 
through the flanger (W) and the 
sound that is not sent through 
the flanger (D). 


Level 


0-127 


Output Level 



78: SYMPATHETIC RESONANCE 

On an acoustic piano, holding down the damper pedal allows other 
strings to resonate in sympathy with the notes you play, creating 
rich and spacious resonances. This effect simulates these 
sympathetic resonances. 



Lin ■ 



Syn. Resonance 




3-Band 
EQ 



R in- 




s-Band 
EQ 



■Lout 



Rout 



Parameter 


Value 


Explanation 


Depth* 


0-127 


Depth of the effect 


Damper # 


0-127 


Depth to which the damper ped- 
al is pressed (controls the reso- 
nant sound) 


Pre LPF 


16-15000 Hz, 
BYPASS 


Frequency of the filter that cuts 
the high-frequency content of the 
input sound (BYPASS: no cut) 


Pre HPF 


BYPASS, 
16-15000 Hz 


Frequency of the filter that cuts 
the low-frequency content of the 
input sound (BYPASS: no cut) 


Peaking Freq 


200-8000 Hz 


Frequency of the filter that 
boosts/cuts a specific frequency 
region of the input sound 


Peaking Gain 


-15- +15 dB 


Amount of boost/cut produced 
by the filter at the specified fre- 
quency region of the input sound 


Peaking Q 


0.5, 1.0, 2.0, 4.0, 8.0 


Width of the frequency region 
boosted/cut by the 'Peaking 
Gain' parameter {larger values 
make the region narrower) 


HF Damp 


16-15000 Hz, 
BYPASS 


Frequency at which the high-fre- 
quency content of the resonant 
sound will be cut (BYPASS: no 
cut) 


LF Damp 


BYPASS, 
16-15000 Hz 


Frequency at which the low-fre- 
quency content of the resonant 
sound will be cut (BYPASS: no 
cut) 


Lid 


1-6 


This simulates the actual chang- 
es in sound that occur when the 
lid of a grand piano is set at dif- 
ferent heights. 


EQ Low Freq 


200, 400 Hz 


Frequency of the low-range EQ 


EQ Low Gain 


-15- +15 dB 


Amount of low-range boost/cut 


EQ Mid Freq 


200-8000 Hz 


Frequency of the midrange EQ 


EQ Mid Gain 


-15- +15 dB 


Amount of midrange boost/cut 


EQ Mid Q 


0.5, 1.0, 2.0, 4.0, 8.0 


Width of midrange (larger val- 
ues make the region narrower) 


EQ High Freq 


2000,4000,8000 Hz 


Frequency of the high-range EQ 


EQ High Gain 


-15-+15 dB 


Amount of high-range boost/cut 


Level 


0-127 


Output Level 




152 




JUNO-G_e.book 153 ^-v 2 00 6^2^133 ^BlB ^1^2^4 4'^ 



(^ 



Adding Effects 



note: 

^3 (Sixty-fourth-note triplet}, j^ (Sixty-fourth note), Jg (Thirty-second -note triplet), 

^ (Thirty-second note), J^^ (Sixteenth-note triplet), ^1 (Dotted thirty-second note), 

^ (Sixteenth note), J)^ (Eighth-note triplet), J^. (Dotted sixteenth note), 

,1 (Eighth note), j^ (Quarter-note triplet), Ji. (Dotted eighth note), 

J (Quarter note), J3 (Half-note triplet), J (Dotted quarter note), „ (Half note), 

03 (Whole-note triplet), i (Dotted half note), <> (Whole note), 

110113 (Double-note triplet), <>■ (Dotted whole note), no" (Double note) 



When Using 3D Effects 

The following 3D effects utilize RSS (Roland Sound Space) 

technology to create a spaciousness that cannot be produced by 

delay, reverb, chorus, etc. 

52: 3D DELAY 

29: 3D CHORUS 

30: 3D FLANGER 

31: 3D STEP FLANGER 

When using these effects, we recommend that you place your 

speakers as foUow^s. Also, make sure that the speakers are at a 

sufficient distance from the walls on either side. 



30° 



30° 



If the left and right speakers are too far apart, or if there is too 
much reverberation, the full 3D effect may not appear. 
Each of these effects has an "Output Mode" parameter. If the 
sound from the OUTPUT jacks is to be heard through speakers, 
set this parameter to "SPEAKER." If the sound is to be heard 
through headphones, set it to "PHONES." This will ensure that 
the optimal 3D effect will be heard. If this parameter is not set 
correctly, the full 3D effect may not appear. 



About the STEP RESET function 

06: STEP FILTER 

16: STEP RING MODULATOR 

19: STEP PAN 

20: SLICER 

63: STEP PITCH SHIFTER 

The above five types contain a sixteen-step sequencer. 

For these t5fpes, you can use a multi-effect control to reset the 

sequence to play from the first step. 

To do this, set the multi-effect control Destination to "Step 

Reset." 

For example if you are using the modulation lever to control the 
effect, you would make the following settings. 
Source: CCOl: MODULATION 

Destination: Step Reset 
Sens: +63 

With these settings, the sequence will play back from the first 
step whenever you operate the modulation lever. 




153 




JUNO-G_e.book 154'^-y 2006^2^130 ^BIH ^lS2a$445J- 



(^ 



Adding Effects 



Making Chorus Settings 



The ]UNO-G's Chorus effect unit can also he used as a stereo delay unit. 





^^^^^ffiH 


^B ULnor-us Level i^f 


^H^ 


H Fi Iter Tape HPF 




■ Cutoff Freci 8aa:Hz: 




gPf-e Delay E.BCmsec: 




BEate e.EQl HZ 1 




HDepth £0 


^ LEUEL 


^ P-DLV ^ RHHTE j^ DEPTH 
Sat3.ll MJEC St 11.511 sat SO 


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[lfZ> 

For details on these settings, refer to Making Effect Settings (p. 125). 



Parameter 


Value 


Explanation 


(Chorus Type) 


00 (OFF)-03 


Selects either chorus or delay. 


Chorus Level 


0-127 


Volume of the sound passed through chorus 


Type 01 : Chorus 


Filter Type 


OFF, LPF, HPF 


Type of filter 

OFF: no filter is used 

LPF: cuts the frequency range above the Cutoff Freq 

HPF: cuts the frequency range below the Cutoff Freq 


Cutoff Freq 


200-8000 Hz 


Basic frequency of the filter 


Pre Delay 


0.0-100.0 ms 


Delay time from the direct sound until the chorus sound is heard 


Rate 


0.05-10.00 Hz, 
note 


Frequency of modulation 


Depth 


0-127 


Depth of modulation 


Phase 


0-180- 


Spatial spread of the sound 


Feedback 


0-127 


Amount of the chorus sound fed back into the effect 


Type 02: Delay 


Dly Left 


0-1000 ms, note 


Delay time from the direct sound until the delay sound is heard 


Dly Right 


Dly Center 


Center Feedback 


-98-+98 % 


Proportion of the delay sound fed back into the effect 
Negative (-) settings will invert the phase. 


HF Damp 


200-8000 Hz, 
BYPASS 


Frequency above which sound fed back to the effect will be cut 

If you do not want to cut the high frequencies, set this parameter to BYPASS. 


Left Level 


0-127 


Volume of each delay sound 


Right Level 


Center Level 


Type 03: GM2 Chorus 


Pre-LPF 


0-7 


Cuts the high frequency range of the sound coming into the chorus. 
Higher values will cut more of the high frequencies. 


Level 


0-127 


Volume of the chorus sound 


Feedback 


0-127 


Amount of the chorus sound fed back into the effect 


Delay 


0-127 


Delay time from the direct sound until the chorus sound is heard 


Rate 


0-127 


Frequency of modulation 


Depth 


0-127 


Depth of modulation 


Send Level To Reverb 


0-127 


Amount of chorus sound that will be sent to the reverb 



note: 

^^ (Sixty-fourth-note triplet), ^ (Sixty-fourth note), ,^3 (Thirty-second- note triplet), 

^ (Thirty-second note), J^3 (Sixteenth-note triplet), /. (Dotted thirty-second note), 

,1 (Sixteenth note), \ (Eighth-note triplet), /i. (Dotted sixteenth note), 

J) (Eighth note), J3 (Quarter-note triplet), ^. (Dotted eighth note), 

J (Quarter note), J3 (Half-note triplet), J (Dotted quarter note), J (Half note), 

03 (Whole-note triplet), J (Dotted half note), <> (Whole note), 

110113 (Double-note triplet), *>• (Dotted whole note), iioii (Double note) 




154 




JUNO-G_e.book 155 '^-v 2006^2^130 ^BIH ^1»2a$445j- 



Adding Effects 



Making Reverb Settings 




t3snss 



iOGeverb Level 15; 

grape STfiSEE; 

ijTime 84; 

MF Damp 8000 :mz: I 

QDelaa Feedback Si 



mSSBS^ MM/TEF. 



FBK 



[^fZ> 

For details on these settings, refer to Making Effect Settings (p. 125). 



Parameter 


Value 


Explanation 


(Reverb Type) 


00 (OFF)-05 


Type of Reverb 


Reverb Level 


0-127 




Type 01 : Reverb (Normal Reverb) 


Type 


ROOMl, ROOM2, 
STAGEl, STAGE2, 
HALLl, HALL2, 
DELAY, 
PAN-DELAY 


Type of reverb/delay 

R00M1 : short reverb with high density 

R00M2: short reverb with low density 

STAGE1 : reverb with greater late reverberation 

STAGE2: reverb with strong early reflections 

HALL1 : very clear-sounding reverb 

HALL2: rich reverb 

DELAY: conventional delay effect 

PAN-DELAY: delay effect with echoes that pan left and right 


Time 


0-127 


Time length of reverberation (Type: ROOM1-HALL2) 
Delay time (Type: DELAY, PAN-DELAY) 


HF Damp 


200-8000 Hz, 
BYPASS 


Frequency above which the high-frequency content of the reverb sound will be cut or "damped" 
If you do not want to cut the high frequencies, set this parameter to BYPASS. 


Delay Feedback 


0-127 


Amount of delay feedback when the Type setting is DELAY or PAN-DELAY 


Type 02: SRV Room (Simulates typical room acoustic reflections.) 

Type 03: SRV Hall (Simulates typical concert hall acoustic reflections.) 

Type 04: SRV Plate (Simulates a reverb plate, a popular type of artiflcial reverb unit that derives its sound from the vibration of a metallic plate.) 


Pre Delay 


0.0-100.0 ms 


Delay time from the direct sound until the reverb sound is heard 


Time 


0-127 


Time length of reverberation 


Size 


1-8 


Size of the simulated room or hall 


High Cut 


160 Hz-12.5 kHz, 
BYPASS 


Frequency above which the high-frequency content of the reverb will be reduced 
If you do not want to reduce the high frequencies, set this parameter to BYPASS. 


Density 


0-127 


Density of reverb 


Diffusion 


0-127 


Change in the density of the reverb over time 

The higher the value, the more the density increases with time. (The effect of this setting is most pronounced 
long reverb times.) 


with 


LF Damp 


50^000 Hz 


Frequency below which the low-frequency content of the reverb sound will be reduced or "damped" 


LF Damp Gain 


-36-0 dB 


Amount of damping applied to the frequency range selected with LF Damp 

With a setting of "0," there will be no reduction of the reverb's low-frequency content. 


HF Damp 


4000 Hz-12.5 kHz 


Frequency above which the high-frequency content of the reverb sound will be reduced or "damped" 


HF Damp Gain 


-36-0 dB 


Amount of damping applied to the frequency range selected with HF Damp 

With a setting of "0," there will be no reduction of the reverb's high-frequency content. 


Type 05: GM2 Reverb 


Character 


0-7 


Type of reverb 
0-5: reverb 
6, 7: delay 


Pre-LFF 


0-7 


Cuts the high frequency range of the sound coming into the reverb. 
Higher values will cut more of the high frequencies. 


Level 


0-127 


Output level of reverberation 


Time 


0-127 


Time length of reverberation 


Delay Feedback 


0-127 


Amount of the delay sound fed back into the effect when the Reverb Character setting is 6 or 7 




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Adding Effects 



Mastering Effect 



This is a stereo compressor (limiter) that is applied to the final output of the JUNO-G. It has independent high, mid, and low ranges. 
Independently for the high-frequency, mid-frequency, and low-frequency regions, this compresses any sounds that exceed the specified level, 
making the volume more consistent. When mixing down to MD, or DAT, or when you procedure your own original audio CD, this lets you 
master at an optimized level. 

* Mastering effect settings apply to the entire JUNO-G. These settings are not for individual patches or performances. 

* The mastering effect is applied to the sound that is output from the OUTPUT A (MIX) jacks. It will not be applied to the sound that is output from the 
OUTPUT B jacks. 



E^ESS 



5Pl it LO 


400 : Hz: 


SPI it Hi 


4000 : Hz: 


LO Level 


3 


Mid Level 


3 


Hi Level 


3 


Low fittack 


£0 



^ LON ^ MID 



j^ HISH 
CHii'Rij'sYREd'ERii'^l 



[lfZ> 

For details on these settings, refer to Making Effect Settings (p. 125). 



Parameter 


Value 


Explanation 


(Type) 


00: Hard Ccmp, 
01:SoftComp,02: 
Low Boost, 03: 
Mid Boost, 04: Hi 
Boost, 
05: User 


Recalls effect settings. 
00-04: Preset settings 
05: User settings 
By pressing [F6 (SYSTEM WRITE)] you can save the current settings as user settings. 

* Only one set of user settings can be saved. 


Split Lo 


200-800 Hz 


Frequency at which the low-frequency (LO) and mid-frequency (MID) bands are split 


Split Hi 


2000-8000 Hz 


Frequency at which the high-frequency (HI) and mid-frequency (MID) bands are split 


Lo/Mid/Hi Level 


0-24 dB 


Output volume 


Low/Mid/Hi Attack 


0-100 ms 


Time from when the volume goes up the threshold level until the compressor effect applies 


Low/Mid/Hi Release 


50-5000 ms 


Time from when the volume falls below the threshold level until the compressor effect no longer 


applies 


Low/Mid/Hi Thresh 


-36-0 dB 


Volume level at which compression begins 


Low/Mid/Hi Ratio 


1.00:1-INF:1(INF: 
infinity) 


Compression ratio 



About THRESHOLD (Thresh) and RATIO 

As shown in the diagram below, these parameters determine 
how the volume is to be compressed. 



















/ 


_ 














/ 




5 












/ 


^ 


^ 


6 










^ 


^ 




' 










/ 
















/ 
















/ 
















/ 

















1:1 

RATIO 
2:1 
4:1 
INF:1 



THRESHOLD 

Input Level ■ 




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Settings Common to All Modes (System Function) 



Settings that affect the entire operating environment of the JUNO-G, 
such as tuning and MIDI message reception, are referred to as 
system functions. This section explains how to make settings for 
the System functions and describes the functions of the different 
System parameters. 



Hov>^ to Make System 
Function Settings 



1 . From the PATCH PLAY, PERFORM PLAY, or PART MIXER 
screen, press EDIT [MENU]. 

2. Use the VALUE dial or [INC] [DEC] l^] [-w] to select "2. 
System," and press [ENTER]. 

The System Menu window appears. 



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System Menu 



3. Press [F1]-[F5] to select the parameter group. 

A SYSTEM SETUP screen appears. 

4. Press [F1 ]-[F4] or [^ [^ to select the parameter you wish 
to change. 

5. Use the VALUE dial or [INC] [DEC] to change the setting. 

6. Repeat steps 3-5 to set each system parameter you want 
to change. 

7. To save the settings you changed, press [F6 (WRITE)]. 

8. Press [EXIT] to return to the previous screen. 



Saving the System Settings 
(System Write) 



Changes you make to the System function settings are only 
temporary — they will be discarded as soon as the power is turned 
off. If you want to keep any changes you've made in the system 
settings, you must save them in internal system memory. 

When you perform the save procedure, the data that previously 
occupied the save destination will be lost. How^ever, the factory 
setting data can be recovered by performing the Factory Reset 
procedure. 

1 . Change the system function settings, and press [F6 (WRITE)]. 



Completed! 



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.:si" 

Default File Type 
Pre Sample Time 
Tr igge r Level 

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The display will indicate "System Write Completed!" The data 
will be saved, and you're returned to the SYSTEM SETUP 



System Information 



1 . Press EDIT [MENU]. 

2. Use the VALUE dial or [INC] [DEC] [a] [-w] to select "2. 
System," and press [ENTER]. 

The System Menu window appears. 

3. Press [F6 (INFORMATION)]. 

The SYSTEM INFO screen appears. 

4. Press [F1]-[F3] to display the information you wish to see. 

[Fl (MEMORY)]: Amount of memory installed 

[F2 (SRX)]: Name of the wave expansion board that is installed 

[F3 (VERSION)]: Version of the JUNO-G's system program 

5. Press [F6 (EXIT)] or [EXIT] to return to the previous screen. 




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Settings Common to All Modes (System Function) 



Functions of System Parameters 



This section explains what the different System parameters do, and also how these parameters are organized. 



System Menu [F1 (GENERAL)] 
[F1 (COMMON)] 



Parameter 


Value 


Explanation 


System Common 


Power Up Mode 


PATCH, 
PERFORMANCE 


Mode that the JUNO-G will be in when it is powered up. 
PATCH: Patch mode 
PERFORMANCE: Performance mode 


Patch Remain 


OFF, ON 


Specifies whether currently sounding notes will continue sounding when another patch or rhythm set is selected (ON), or 

not (OFF). 

Also, when this is "ON," changes produced by incoming MIDI messages such as Volume or Pan (CC 5, 7, 10, 65, 68, 71- 
74, RPN 0, 1, 2, MONO ON, POLY ON), as well as tonal quality and volume changes produced by the various control- 
lers will be inherited. 

* Effects settings change as soon as you switch to a new patch or rhythm set, without being influenced by the Patch Remain setting. 
Because of this, certain effects settings can cause notes that were until then sounding to no longer be heard, even though Patch 
Remain has been set to "ON." 


Audio Rec 


Default File Type 


WAV, AIFF 


File format used when saving a sample 


Input Select 


LINE IN L/R, 
LINE IN L, 
MICROPHONE 


Input source of the external input sound 
LINE IN UR: L/R (stereo) 
LINE IN L: L (mono) 
MICROPHONE: L (mono, mic level) 



[F2 (AUTO LD)] 



Parameter 



Load Preset Samples at Startup 
Load User Samples at Startup 



Load Demo Song at Startup 



Value 



Explanation 



OFF, ON Specifies whether the preset samples will be loaded into memory at power-on (ON) or not (OFF). 

OFF, ON Specifies whether the samples of the user area and memory card will be loaded into memory at power-on (ON) or 
not (OFF). 



OFF, ON Specifies whether the demo song will be loaded into the temporary area at power-on (ON), or not (OFF). 



[F3 (SOUND)] 



Parameter Value 


Explanation 




Sound Generator 


Master Tune 


415.3-466.2 Hz 


Overall tuning of the JUNO-G 

The display shows the frequency of the A4 note (center A). 


Master Key 
Shift 


-24- +24 


Shifts the overall pitch of the JUNO-G in semitone steps. 


Master Level 


0-127 


Volume of the entire JUNO-G 


Output Gain 


-12- 12 dB 


Output gain from the JUNO-G's Output 

When, for example, there are relatively few voices being sounded, boosting the 
suitable output level for recording and other purposes. 


output gain can let you attain the most 



Mix /Parallel 



Preview 

Preview^ 
Mode 



MIX, PARALLEL 



How the sound of the entire JUNO-G will be output 

MIX: Set this to have the collective output of all sounds output from the OUTPUT A (MIX) jacks. When you want to check 

the final overall sound being output, set to MIX. 

PARALLEL: Output according to each Output Assign settings. 

* Sounds which are set in the respective Output Assign to be output from the INDIVIDUAL 3 jack are output from the left OUTPUT 
A (MIX) jack; sounds which are set to be output from the INDIVIDUAL 4 jack are output from the right OUTPUT A (MIX) jack. 

* Sounds output from the PHONES jack are the same as those output from the OUTPUT A (MIX) jacks. Therefore, any sounds set with 
Output Assign to be output from the OUTPUT B jacks is not output from the PHONES jack. Be sure to have any sound you want to 
hear through the headphones set to "MIX. " 

SINGLE: The notes specified by Preview 1-4 Note Number will sound successively one by one. 
CHORD: The notes specified by Preview 1-4 Note Number will sound simultaneously. 
PHRASE: The Phrase associated with the patch's type/category is played. 

Preview 1-4 C - -G9 Specify the pitch of the four notes that will sound when the Preview Mode is set to "SINGLE" or "CHORD." 

Note Number * If "PHRASE" is selected for the Preview Mode parameter, these settings will have no effect. 



SINGLE, 
CHORD, 
PHRASE 



Preview 1-4 
Velocity 



OFF, 1-127 



Specify the velocity of the four notes that will sound when the Preview Mode is set to "SINGLE" or "CHORD.' 

* If "PHRASE" is selected for the Preview Mode parameter, these settings will have no effect. 




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(^ 



Settings Common to All Modes (System Function) 



Parameter 



Value 



Explanation 



Scale Tune for Patch Mode 

The JUNO-G allows you to play the keyboard using temperaments other than equal temperament. The pitch is specified in one-cent units relative to the equal tempered pitch. 

* One-cent is 1/lOOth of a semitone. 

One set of Scale Tune settings can be created in Patch mode. In Performance mode, this can be set for each part of the performance (p. 66). 

* In Patch mode, this is valid only for the keyboard part. 

* The selected scale applies to MIDI messages received from an external MIDI device. 

Scale Tune OFF, ON Turn this on when you wish to use a tuning scale other than equal temperament. 

Switch 



Patch Scale 
Tune for C-B 



-64- +63 



Make scale tune settings for Patch mode. 



[F4 (USB)] 



Parameter 

USB Mode 



Value 

STORAGE, MIDI 



Explanation 

Specifies the operating mode of the USB connector when the power is turned on. 

STORAGE: Storage mode. Select this if you want to transfer files. 

MIDI: MIDI mode. Select this if you want to exchange MIDI messages with a sequencer or other program. 
* For details on switching the USB mode, refer to Selecting the USB Operating Mode (p. 167) 



USB-MIDI 
Thru 



OFF, ON 



When USB Mode is set to "MIDI," this switch specifies whether MIDI messages received at the MIDI connector will be retrans- 
mitted from the MIDI OUT connector (ON) or not (OFF). 



csm 

You must switch the USB Mode before you connect the JUNO-G to your computer via the USB cable. If you change this setting while the 
JUNO-G is connected, the computer may fail to recognize it correctly. 



For details on connections to your computer in each USB Mode, refer to p. 167. 



System Menu [F2 (KBD/CTRL)] 



[Fl (KBD)] 








Parameter 


Value 


Explanation 


Keyboard Velocity 


REAL, 1-127 


Velocity value that will be transmitted when you play the keyboard 
REAL: Actual keyboard velocity will be transmitted. 
1-127: A fixed velocity value will be transmitted regardless of how yot 


play. 


Touch Sens 


LIGHT, MEDIUM, 
HEAVY 


Keyboard's touch 

LIGHT: Light weight synthesizer keyboard like 

MEDIUIVI: Standard 

HEAVY: Acoustic piano simulation 



[F2 (PDL BND)] 



Parameter 
Pedal 



Value 



Explanation 



Control Pedal Assign 



CCOl-31, 33-95, 
BEND UP, 
BEND DOWN, 
AFTERTOUCH, 
OCT UP, 
OCT DOWN, 
START/STOP, 
PUNCH IN/OUT, 
TAP TEMPO, 
PROG UP, 
PROG DOWN, 
FAVORITE UP, 
FAVORITE DOWN, 
ARP SW, 

RHY START/STOP, 
CHORD SW, 
LIVE SET UP, 
LIVE SET DOWN, 
LOOP 



Control Pedal Polarity STANDARD, 
REVERSE 



Hold Pedal Polarity STANDARD, 

REVERSE 

Continuous Hold Pedal OFF, ON 



Function of the pedal connected to the PEDAL CONTROL jacks 
CCOl-31 , 33-95: Controller numbers 1-31, 33-95 

BEND UP: The pitch will rise in semitone steps (maximum 4 octaves) each time you press the pedal. 
BEND DOWN: The pitch will fall in semitone steps (maximum 4 octaves) each time you press the pedal. 
AFTERTOUCH: Aftertouch 

OCT UP: Each pedal press raises the key range in octave steps (up to 3 octaves higher). 
OCT DOWN: Each pedal press lowers the key range in octave steps (up to 3 octaves lower). 
START/STOP: The song recorder will start/stop. 
PUNCH IN/OUT: Manual punch-in/out recording will start/stop. 

TAP TEMPO: Tap tempo (a tempo specified by the interval at which you press the pedal). 
PROG UP: The next sound number will be selected. 
PROG DOWN: The previous sound number will be selected. 

FAVORITE UP: The favorite patch/performance of the next number or bank will be selected. 
FAVORITE DOWN: The favorite patch/performance of the previous number or bank will be selected. 
ARP SW: Arpeggio/Rhythm function on/off 
RHY START/STOP: Rhythm pattern playback on/off 
CHORD SW: Chord memory function on/off 
LIVE SET UP: Switches to the next step within a Live Setting list. 
LIVE SET DOWN: Switches to the previous step within a Live Setting list. 
LOOP: Loop play on/off 

Selects the polarity of the pedal. 

On some pedals, the electrical signal output by the pedal when it is pressed or released is the opposite of 
other pedals. If your pedal has an effect opposite of what you expect, set this parameter to "REVERSE." If 
you are using a Roland pedal (that has no polarity switch), set this parameter to "STANDARD." 

Determines whether the HOLD PEDAL jack will provide support for half-pedaling (ON), or not (OFF). 
When this is set to support use of half-pedaling techniques, you can then connect an optional expression 
pedal (DP-10, etc.), and employ pedal work to achieve even finer control in performances in which piano 
tones are used. 




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4^ 



Settings Common to All Modes (System Function) 



[F3 (CTRL)] 



Parameter 


Value 


Explanation 


Sys Ctrl 1^ Source 


OFF, CCOl-95, 
PITCH BEND, 
AFTERTOUCH 


Selects the MIDI message used as the System Control. 
OFF: The system control knob will not be used. 
CC01-95: Controller numbers 1-95 
PITCH BEND: Pitch Bend 
AFTERTOUCH: Aftertouch 



System Control 

This function, which departs from previously used methods, 
and instead allows you to use MIDI messages to change tone 
settings in realtime, is called the Matrix Control (p. 44). 
Similarly, the function allowing you to use MIDI messages to 
change multi-effects settings in realtime is called the Multi- 
effects Control (p. 129). 

Normally, the Matrix Control is used for making patch settings, 
and the Multi-effects Control for making settings to patches, 
rhythm sets, and performances. 



Howrever, if you do not need to change the MIDI messages used 
for matrix control or multi-effects control by each patch/ 
rhythm set/performance, or if you want to use a specific MIDI 
message for matrix control or multi-effects control, you will 
want to make use of System Control. In other words, you 
could call the System Controls global Matrix Control/Multi- 
effects Control for the entire JUNO-G. 
You can use up to four System Controls. 



System Menu [F3 (MIDI)] 




[F1 (GENERL)] 



Parameter 



Local Switch 



Device ID 



Remote Keyboard Switch 



Performance Control Channel 



Kbd Patch Rx/Tx Channel 



Value 



Explanation 



OFF, ON Determines whether the internal sound generator is disconnected (OFF) from the controller section (keyboard, pitch 
bend /modulation lever, knobs, buttons, D Beani controller, pedal, and so on); or not disconnected (ON). 

Normally this is left "ON," but if you wish to use the JUNO-G's keyboard and controllers to control only external 
sound modules, set it to "OFF." 

17-32 When you want to transmit or receive System Exclusive messages, set this parameter to m.atch the Device ID number 

of the other MIDI device. 



OFF, ON Set this parameter "ON" when you want to use an external MIDI keyboard instead of the JUNO-G's keyboard. 

In this case, the MIDI transmit channel of the external MIDI keyboard can be set to any chamiel. Normally you 
will leave this parameter "OFF." 

* Turn this "ON" when you want to control the JUNO-G from an external MIDI device when performing with the Arpeggio 
function. 

1-16, OFF Selects the MIDI receive channel used during switching of performances when MIDI messages (Program Change/ 
Bank Select) are sent from an external MIDI device. 

Set this to "OFF" if performances are not to be switched from an external MIDI device. 

* If only a program change is received, and if this parameter setting coincides with the MIDI receive channel of a part, priority 
will he given to switching the performance. 



1-16 



Channel used to transmit and receive MIDI messages for the Keyboard part in Patch mode 



Using the Local Switch 

When you're using the JUNO-G with external sequencer software, leave the Local Switch turned off. Read the following for details. 



Connecting the JUNO-G to an external sequencer 



JUNO-G 
Keyboard 



Local Off 



JUNO-G 

Sound Generator 



X 



y 



(External) 
Sequencer 



Typically, things are hooked up so the data travels as follows: the JUNO-G's keyboard — > your external sequencer software — > the JUNO-G's 
sound generator. Normally, the JUNO-G's keyboard section is internally connected to its sound generator section; this internal connection is 
controlled by the Local Switch. If you turn the Local Switch off, the JUNO-G's keyboard and sound generator sections will be independent, 
allowing you to use the connection described above with your external sequencer software. 



■# 



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Settings Common to All Modes (System Function) 



[F2 (TX)] 



Parameter 



Value 



Explanation 



Transmit Program Change 
Transmit Bank Select 



OFF, ON 
OFF, ON 



Specifies wliether Program Change messages will be transmitted (ON) or not (OFF). 
Specifies whether Bank Select messages will be transmitted (ON) or not (OFF). 



Transmit Active Sensing OFF, ON 



Specifies whether Active Sensing messages will be transmitted (ON) or not (OFF). 



Transmit Edit Data 



Soft Through 



OFF, ON 
OFF, ON 



Specify whether changes you make in the settings of a patch, performance will be transmitted as system exclusive mes- 
sages (ON), or will not be transmitted (OFF). 

Thru function re-transmits all messages received at the MIDI IN connector to the MIDI OUT connector without modi- 
fying them in any way. 



[F3 (RX)] 






Parameter 


Value 


Explanation 


Receive Program Change 


OFF, ON 


Specifies whether Program Change messages will be received (ON) or not (OFF). 


Receive Bank Select 


OFF, ON 


Specifies whether Bank Select messages will be received (ON) or not (OFF). 


Receive Exclusive 


OFF, ON 


Specifies whether System Exclusive messages will be received (ON) or not (OFF). 


Receive GM System On 


OFF, ON 


Specifies whether General MIDI System On messages will be received (ON) or not (OFF). 


Receive GM2 System On 


OFF, ON 


Specifies whether General MIDI 2 System On messages will be received (ON) or not (OFF). 


Receive OS Reset 


OFF, ON 


Specifies whether GS Reset messages wiU be received (ON) or not (OFF). 



[F4 (MMC MTC)] 



Value 



Explanation 



Parameter 

MMC 

MMC (MIDI Machine Control) is a specification that allows MIDI messages to be used to control devices such as tape recorders, VTR's, and digital recording systems. 
Thirty-seven MMC commands are available, including Stop and Play. 



MMC Mode 



MMC Output 



MTC 



MASTER, 
SLAVE 



OFF, ON 



When synchronizing the JUNO-G with a hard disk recorder, such as one from the Roland VS series, specify which 

synchronization signal the JUNO-G's song recorder will use for operation. 

MASTER: The JUNO-G will be the master. Use this setting when you want other devices to follow the operation 
of the JUNO-G. 

SLAVE: The JUNO-G will be the slave. Use this setting when you want the JUNO-G to receive MMC (MIDI Ma- 
chine Control) from an external device and operate accordingly. 

Turn this "ON" if you want to synchronize with a hard disk recorder, such as one from the Roland VS series. 
When set "ON," MMC (MIDI Machine Control) related commands (Play, Stop and Locate) will be transmitted. 



MTC Sync Output 
MTC Frame Rate 



OFF, ON 



24, 25, 29N, 
29D, 30 



MTC Offset Time Hour 



0-23 (hours) 



Set this parameter "ON" when you want MTC (MIDI Time Code) to be transmitted to an external MIDI device. If 
not, set it "OFF." 

MTC frame rate 

Make sure that the same mode is set in both master and slave devices. 

24: 24 frames per second 

25: 25 frames per second 

29N: 29 frames per second, non-drop format 

29D: 29 frames per second, drop format 

30: 30 frames per second, non-drop format 
* When synchronizing with a hard disk recorder such as the Roland VS series, any frame rate is all right — as long as the setting 

matches that of the JUNO-G. However, when synchronizing operation with video devices such as video decks, the video de- 
vice's frame rate is fixed, so the JUNO-G's setting must correspond to that frame rate. 

Coordinates the playback timing of the JUNO-G and the external device in an hour units. 



MTC Offset Time Minute 


0-59 (minutes) 


Coordinates the playback timing of the JUNO-G and the external device in a minute units. 


MTC Offset Time Second 


0-59 (seconds) 


Coordinates the playback timing of the JUNO-G and the external device in a second units. 


MTC Offset Time Frame 


0-29 (frames) 


Coordinates the playback timing of the JUNO-G and the external device in a frame units. 



MTC Error Level 



0-10 



Determines how often the reception status is checked when MTC is being received from an external device. Stop syn- 
chronization if a problem becomes apparent with the check. 
The checking interval will be longer for larger values. 

In strict terms, the lower the numerical value set, the more accurate the check is. However, playback may be 
stopped overly frequently if too rigorous a check is made, and this soon becomes inconvenient. By raising the Er- 
ror Level setting, then even if problems with the reception of MTC do occur, synchronization can then continue 
as long as such problems remain at a level that does not cause undue problems. 



MIDI Clock and MTC 

MIDI Clock and MTC (MIDI Time Code) are both messages used for synchronization. Select either of them depending on the application. 
MIDI Clock transmits and synchronizes operations to a song recorder's performance tempo, whereas MTC synchronizes operations between 
devices based on an absolute time. Since Roland VS Series workstations are hard disk recorders, they cannot send MIDI Clock. Therefore, 
using a MTC is convenient for synchronization of the hard disk recorder and the JUNO-G. However, VS Series devices also feature 
specialized tracks for recording MIDI Clock, so with the JUNO-G's MIDI Clock recorded in this manner, we have another synchronizing 
technique in which the VS device appears to be sending MIDI Clock (although it is actually playing back tracks to which MIDI Clock has 
been recorded). However, since the tempo must be recorded to the VS sync track beforehand, MTC is only convenient in synchronizing with 
songs that do not contain great amounts of tempo data. 




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Settings Common to All Modes (System Function) 



Types of MTC 

The types of MTC that can be selected by the JUNO-G are shown below. Select the same frame rate as that set for the external device. When 
not using a video device, then any frame rate may be selected as long as the rates are the same on both devices being synchronized. 

30: This is 30 frames per second, non-drop format. This is used by audio devices such as analog tape recorders, and for NTSC format 

black and white video (used in Japan and the U.S.). 
29N: This is 29.97 frames per second, non-drop format. This is used for NTSC format color video (used in Japan and the U.S.). 
29D: 29.97 frames per second drop format. This is used for NTSC format color video (used in Japan and the U.S.). 
25: 25 frame per second frame rate. This is used for SEC AM or PAL format video, audio equipment, and film (used in Europe and 

elsewhere). 
24: 24 frame per second frame rate. This is used for video, audio devices, and film in the US. 

Non-Drop Format and Drop Format 

There are two types of format used by NTSC video cassette recorders, non-drop and drop. Non-drop format features continuous time code, 
whereas in drop format, wrhich is used for NTSC color video format, the first two frames of every minute are dropped, except for those at ten- 
minute intervals. In most video and audio production, since formats with continuous frames are easier to deal with, non-drop is generally 
used. In contrast, in situations such as in broadcast, where the time code must match actual clock time, drop is used. 



System Menu [F4 (METRO/SYNC)] 



[F1 (METRO)] 



Parameter 


Value 


Explanation 


Metronome Mode 


OFF, 

PLAY-ONLY, 

REC-ONLY, 

PLAY&REC, 

ALWAYS 


Specifies when you want the metronome to sound. 
OFF: Will not sound. 

PLAY-ONLY: Will sound only during playback. 
REC-ONLY: Metronome will sound only for recording. 
PLAY&REC: Metronome will sound for playback and recording. 
ALWAYS: Metronome will always sound. 

* If a check mark (•) is added by pressing [F5 (CLICK)] in the Tempo window which appears when you press [TEMPO], the met- 
ronome will always sound. 


Metronome Level 


0-10 


Volume of the metronome 


Metronome Sound 


TYPE1-TYPE4 


TYPE 1 : A conventional metronome sound (A bell will sound on the first beat.) 
TYPE 2: Clicks 
TYPE 3: Beeps 
TYPE 4: Cowbell 


Beat Indicator Mode 


REC&PLAY, 
ALWAYS 


How the beat indicator on the panel will blink 
ALWAYS: always blinks at the specified tempo 
REC&PLAY: blinks only during playback and recording 



[F2 (SYNC)] 



Parameter 

Sync Mode 



Sync Output 

Arp/ Rhythm 
Sync Switch 



Value 

MASTER, 
SLAVE-MIDI, 
SLAVE-MTC, 
REMOTE 



OFF, ON 



OFF, ON 



Tempo Override OFF, ON 



Explanation 

Synchronization message that the JUNO-G's song recorder will use for operation 

MASTER: The JUNO-G will be the master. Choose this setting when using the JUNO-G by itself without synchronizing to 

another device, or when you want other MIDI devices to synchronize to the JUNO-G. 

SLAVE-MIDI: The JUNO-G will be the slave. Choose this setting when you want the JUNO-G to synchronize to MIDI Clock 

messages received from another MIDI device. 

SLAVE-MTC: The JUNO-G will be the slave. Choose this setting when you want the JUNO-G to synchronize to MTC (MIDI 

Time Code) received from an external device. 

REMOTE: Use this setting when you wish an external MIDI device to have remote start/stop control. The tempo will be 

in accord with what has been set on the JUNO-G. 

Set this parameter "ON" when you want synchronization related MIDI messages {MIDI Clock, Start, Continue, Stop, Song 
Position Pointer and Song Select) to be transmitted to an external MIDI device. If not, set it "OFF." 

Specifies whether the arpeggio or rhythm pattern will start/stop in synchronization with the song recorder. 

OFF: Start/stop will not synchronize to the song recorder. 

ON: While the song recorder is running, the arpeggio or rhythm pattern will start at the beginning of the next measure. 

When you stop the song recorder, the arpeggio or rhythm pattern will also stop. 
Specifies whether the song recorder tempo will change (ON), or will not change (OFF) when you switch performance. 



System Menu [F5 (D BEAM)] 



[F1 (GENERL)] 



Parameter 



Value Explanation 



SENSIBILITY 

D Beam Sens 



0-127 



This sets the D Beam controller's sensitivity. 

The higher the value set, the more readily the D Beam Controller goes to into erect. 




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Settings Common to All Modes (System Function) 



[F2 (ASSIGN)] 



Parameter 


Value 


Explanation 


Type 


CCOl-31, 33-95, 


Function controlled by the D Beam controller 




BEND UP, 


CC01-31 , 33-95: Controller numbers 1-31, 33-95 




BEND DOWN, 


BEND UP: Controls the pitch as specified by the "Pitch Bend Range Up" setting (p. 37). 




START/STOP, 


BEND DOWN: Controls the pitch as specified by the "Pitch Bend Range Down" setting (p. 37). 




TAP TEMPO, 


START/STOP: Starts/Stops the song recorder. 




ARP GRID, 


TAP TEMPO: Tap tempo (a tempo specified by the interval at which you move your hand over the D Beam controller). 




ARP DURATION, 


ARP GRID: Arpeggio Grid 




ARP MOTIF, 


ARP DURATION: Duration of each arpeggiated note 




ARP OCTAVE UP, 


ARP MOTIF: Arpeggio Motif 




ARP OCTAVE DOWN 


ARP OCTAVE UP: The range in which the arpeggio is sounded will rise in steps of an octave (maximum 3 octaves). 
ARP OCTAVE DOWN: The range in which the arpeggio is sounded will lower in steps of an octave {maximum 3 oc- 
taves). 


Range Min 


0-127 


Lower limit of the range of the D Beam controller. 


Range Max 


0-127 


Upper limit of the range of the D Beam controller. 

By setting Range Max below Range Min you can invert the range of change. 



[F3 (ATV EXP)] 



Parameter Value Explanation 



Range Min 
Range Max 



0-127 
0-127 



Lower limit of the range of the Active Expression. 

Upper limit of the range of the Active Expression. 

By setting Range Max below Range Min you can invert the range of change. 



[F4 (SYNTH)] 



Parameter Value Explanation 


Level & Range 


Level 


0-127 


Sets the volume. 


Chorus Send Level 


0-127 


Level of the signal sent to chorus 


Reverb Send Level 


0-127 


Level of the signal sent to reverb 


Range 


20CT,40CT, 
80CT 


Range in which the pitch of the solo synth will vary 


Osc1 


Osc 1 Waveform 


SAW, SQR 


Waveform 

SAW: Sawtooth wave 
SQR: Square wave 


Osc 1 Pulse Width 


0-127 


Pulse width of the waveform 

By cyclically modifying the pulse width you can create subtle changes in the tone. 

* The Pulse Width is activated when "SQR" is selected with OSCl/l waveform. 


Osc 1 Coarse Tune 


-48- +48 


Pitch of the tone's sound (in semitones, +/-4 octaves) 


Osc 1 Fine Tune 


-50- +50 


Pitch of the tone's sound (in 1-cent steps) 


Osc2 & Sync 


Osc 2 Waveform 


(same as Osc 1) 


Osc 2 Pulse Width 


Osc 2 Coarse Tune 


Osc 2 Fine Tune 


Osc 2 Level 


0-127 


Adjust the level. 


Osc Sync Switch 


OFF, ON 


Turning this switch on produces a complex sound with many harmonics. 
This is effective when the OSCl pitch is higher than the OSC2 pitch. 


Filter 


Filter Type 


OFF, LPF, 
BPF, HPF, 
PKG 


Type of filter 

OFF: No filter is used. 

LPF: Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency (Cutoff) in order to round 

off, or un-brighten the sound. 

BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency, and cuts the rest. 

HPF: High Pass Filter. This cuts the frequencies in the region below the cutoff frequency. 

PKG: Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency. 


Cutoff 


0-127 


Frequency at which the filter begins to have an effect on the waveform's frequency components 


Resonance 


0-127 


Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. 
Excessively high settings can produce oscillation, causing the sound to distort. 


LFO 


LEO Rate 


0-127 


Modulation speed of the LFO 


LFO Osc 1 Pitch Depth 


-63- +63 


Depth to which the LFO will modulate the Osc 1 pitch 


LFO Osc 2 Pitch Depth 


-63- +63 


Depth to which the LFO will modulate the Osc 2 pitch 


LFO Osc 1 Pulse 
Width Depth 


-63- +63 


Depth to which the LFO will modulate the pulse width of the Osc 1 waveform 
* The Pulse Width is activated when "SQR" is selected with Osc 1 waveform. 


LFO Osc 2 Pulse 
Width Depth 


-63- +63 


Depth to which the LFO will modulate the pulse width of the Osc 2 waveform 

* The Pulse Width is activated when "SQR" is selected with Osc 2 waveform. 




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Data Management Functions/ 

Reset to Factory Settings (Factory Reset) 



UTILITY MENU screen 



imi»*iiMaiaiii» 


[User Backup [[MiiUBI^H 1 


User Restore 




Factory Reset 







Backing Up User Data 
(User Backup) 



Here's how all user data in the user area can be saved on a memory 

card. 

The following user data will be saved. 

• Performances • Patches • Rhythm sets 

• Rhythm Patterns • Rhythm Groups • Arpeggio styles 

• Songs • Samples 

• Chord forms • System settings 

• In order to execute User Backup, the memory card must have 
approximately 16MB or more free area. 

1 . Insert a memory card into the slot. 

2. Press EDIT [MENU] to open the Top Menu window. 

3. Press [^ ["w] to select "3. Utility," and then press [ENTER]. 

The UTILITY MENU screen appears. 

4. Press [F1 (BACKUP)]. 

A message will ask you for confirmation. 

5. To execute the backup, press [F6 (EXEC)]. 

• To cancel, press [F5 (CANCEL)]. 

Data that's been backed up on a JUNO-G must not be used to 
perform a restore into some other device. 



Restoring User Data that You 
Backed Up (User Restore) 



Here's how user data saved on a memory card by the User Backup 
operation can be reloaded back into the user memory of the JUNO-G. 

* When you execute User Restore, the current contents of the user area 
will he completely erased. 

* Data resulting from a backup performed on some other device must 
not he used to perform a restore into a JUNO-G. 

1 . Into the slot. Insert the memory card on which user data has 
been saved. 

2. Press EDIT [MENU] to open the Top Menu window. 

3. Press [.▲] [-w] to select "3. Utility," and then press [ENTER]. 

The UTILITY MENU screen appears. 

4. Press [F2 (RESTORE)]. 

A message will ask you for confirmation. 

5. To proceed with the restoration, press [F6 (EXEC)]. 

* To cancel, press [F5 (CANCEL)]. 



6. When the display Indicates "Completed. Turn the Power off 
and on again," turn the power off, then on again. 



csm 

If, after executing the User Backup operation, you add a file to 
the JUNO-G's internal memory (e.g., the TMP folder), the 
message "User Area Full!" may appear wrhen you execute the 
User Restore operation, making it impossible to successfully 
carry out the restoration. In this case, delete (p. 166) the file that 
you added after performing the backup, and then execute the 
Restore operation once again. 



Factory Reset 



This restores all data in the JUNO-G to the factory-set condition 
(Factory Reset). 

If there is important data you've created that's stored in the 
JUNO-G's User memory, all such data is discarded when a 
Factory Reset is performed (the data of the Internal user 
memory will be lost). If you want to keep the existing data, 
save it on a memory card (User Backup) or save it via USB to 
your computer (Using JUNO-G Editor/Librarian (p. 170)). 

1 . Press EDIT [MENU] to open the Top Menu window. 

2. Press [^ ['^] to select "3. Utility," and then press [ENTER]. 

The UTILITY MENU screen appears. 

3. Press [F3 (FACTORY)]. 

A message will ask you for confirmation. 

4. To execute the Factory Reset, press [F6 (EXEC)]. 

* To cancel, press ]F5 (CANCEL)]. 

5. When the display Indicates "Completed. Turn the Power off 
and on again," turn the power off, then on again. 

csm 

Never switch off the JUNO-G wrhile executing the Factory Reset. 



Initializing a Memory Card 
(Card Format) 



Here's how to format (initialize) a memory card. 

csm 

When you execute the Format operation, the contents of the 
memory card will be completely erased. 

1 . Insert a memory card into the slot. 

2. Press EDIT [MENU] to open the Top Menu window. 

3. Press [^ [-w] to select "3. Utility," and then press [ENTER]. 

The UTILITY MENU screen appears. 

4. Press [F4 (FORMAT)]. 

A message will ask you for confirmation. 

5. To format the card, press [F6 (EXEC)]. 

* To cancel, press ]F5 (CANCEL)]. 



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4^ 




File-Related Functions (File Utility) 




■# 



Here you can perforin a variety of operations related to the files 
stored in the JUNO-G's user memory, and on memory cards. You 
can copy, delete, or move files, as well as format memory cards. 
The folder structure of the user area and memory card is as follows. 



(User, Card) 



ROLAND 



44^////A 



SEQ 



SNG 



SMPL 
SND 



■IMP 



■AUDIOJMPORT 

-BMP 

■TEXT 



■"^^^ : Not used with the JUNO-G 

csm 

You must observe the following points when managing files 
with the JUNO-G connected to your computer via USB. 

• Don't use your computer to move or delete folders within the 
JUNO-G. 

• Don't use your computer to format or optimize the JUNO-G's 
user memory or memory card, or execute operations such as 
Scan Disk. 

• The JUNO-G can only handle filenames consisting of single- 
byte alphanumeric characters. 

• Don't use your computer to delete or overwrite the files located 
in the ROLAND/SND folder. 

When copying files from your computer into the JUNO-G's user area 
or memory card, place them in the following folders. 

Computer JUNO-G 

SONG file (.SVQ, .SVA) ROLAND/SEQ/SNG 



Standard MIDI file (SMF format 0, 1) 



ROLAND/SEQ/SNG 



Audio file (WAV/AIFF) 



TMP/AUDIO_IMPORT 



Don't place any files In the ROLAND/SMPL folder. 

Don't place files of any other format in the user memory or 
memory card. 



Basic Procedure 



1 . Press EDIT [MENU] to open the Top Menu window. 

2. Press [.▲] [^ to select "4. File Utility," and then press 
[ENTER]. 

The FILE UTILITY screen appears. 



U5EE!\ 

:tmp 



U5ED 1.4MB/FEEE 14.SMB 



[F2 (CARD)]: 
[F3 (MARK)]: 



Press [F1]-[F6] to select the operation you want to carry out. 

[Fl (USER)]: Select a file in user memory. 

Select a file on the memory card. 

If you want to select two or more files, add a 

check mark (t^) to the files. To remove the check 

mark from a selected file, select and press this 

button again. 
[F4 (DELETE)]: Delete a selected file or files with check marks. 
[F5 (MOVE)]: Move a file or files with check marks to a 

different folder. 

Copy a file or files with check marks to a 

different folder. 

Select the folder. 

Move between folder levels. 



[F6 (COPY)]: 



[A>] [▼]: 



[^] [►] 



(MEMO) 

If you hold down [SHIFT] and press [F5 (SET ALL)], check 
marks will be added to all files. 

If you hold down [SHIFT] and press [F4 (CLR ALL)], check 
marks will be removed from all files. 

You can also perform these operations from the FILE UTILITY screen 
by pressing EDIT [MENU] and selecting "1. Mark Set ALL" or "2. 
Mark Clear ALL." 



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File-Related Functions (File Utility) 



Copying a File (Copy) 



Here's howf you can copy a file to a different folder. 

1 . As described in thie basic procedure, select the file that you 
want to copy. 

[Fl (USER)] [F2 (CARD)]: Select the memory 

[^ [▼■]: Select the folder 

[^] [^l- Move between folder levels 

2. Press [F6 (COPY)]. 

A screen will appear, allowing you to select the folder to which 
the file is to be copied. 

3. View the contents of the copy-destination folder. 

[Fl (USER)] [F2 (CARD)]: Select the memory 

[^ [■W]: Select the folder 

[^] [^]: Move between folder levels 

4. To copy the file, press [F6 (EXEC)]. 

* To cancel, press [F5 (CANCEL)]. 



Deleting a File (Delete) 



Here's how you can delete an unwanted file from a folder. 

1 . As described in the basic procedure, select the file that you 
want to delete. 

[Fl (USER)] [F2 (CARD)]: Select the memory 

[^ [■W]: Select the folder 

[^] [^]: Move between folder levels 

2. Press [F4 (DELETE)]. 

A message wrill ask you for confirmation. 

3. To delete the file, press [F6 (EXEC)]. 

* To cancel, press [F5 (CANCEL)]. 



Moving a File (Move) 



Here's how you can move a file to a different folder. 

1 . As described in the basic procedure, select the file that you 
want to move. 

[Fl (USER)] [F2 (CARD)]: Select the memory 

[A.] [▼•]: Select the folder 

[^] [^]' Move between folder levels 

2. Press [F5 (MOVE)]. 

A screen will appear, allowing you to select the folder to wrhich 
the file is to be moved. 

3. View the contents of the move-destination folder. 

[Fl (USER)] [F2 (CARD)]: Select the memory 

[^ [•W]: Select the folder 

[^] [^]: Move between folder levels 

4. To move the file, press [F6 (EXEC)]. 

* To cancel, press ]F5 (CANCEL)]. 



initializing a Memory Card 
(Card Format) 



Here's how to initialize a memory card. 

csm 

When you execute the Format operation, the contents of the 
memory card will be completely erased. 

1 . From the File Utility screen, press EDIT [MENU]. 

2. Press [^ Iw] to select "3. Card Format," and then press 
[ENTER]. 

A message mil ask you for confirmation. 

3. To format the card, press [F6 (EXEC)]. 

* To cancel, press ]F5 (CANCEL)]. 




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Connecting to Your Computer via USB 



About USB Functions 



The JUNO-G has two modes of USB functionality: storage mode for 
transferring files, and MIDI mode for sending and receiving MIDI 
messages. You must switch between these two modes on the JUNO- 
G; they cannot be used simultaneously. 
Each mode can be used with the following operating systems. 



Operating System 


Storage Mode 


MIDI Mode 


Windows XP/2000r 


• 


• 


Windows Me 


• 


not supported 


Mac OS X 


• 


• 


Mac OS 9 


• 


not supported 



This may not work correctly with some types of computer. 



Selecting the USB Operating 
Mode 



Using MIDI Mode 



If you've selected USB MIDI mode, nothing can be received from the 
MIDI IN connector. 

Press MODE [USB]. 

The USB SELECT screen appears. 



I Mtd Jj Jl ja* - 



iUSB MIDI: 



USB STORAGE 



■ I 



Internal 



2. Press [F2 (MIDI)]. 

The USB connector will switch to MIDI mode. 

* If USB Storage mode was selected, a warning will appear. Press [F6 
(OK)] if you want to switch to MIDI mode. Press [F5 (CANCEL)] if 
you decide to cancel. 

3. Press [F1 (SETUP)]. 

The SYSTEM SETUP USB screen will appear. 

4. Press [-w] to select "USB-MIDI Thru." 

5. Use the VALUE dial or [INC] [DEC] to make settings for 
USB-MIDI Thru. 

This switch specifies whether MIDI messages received at the USB 
connector or the MIDI IN connector will be retransmitted from the 
USB connector or the MIDI OUT connector (ON) or not (OFF). 

* If you want the JUNO-G to start up with the USB connector in MIDI 
mode the next time it's powered up, press ]F6 (WRITE)] to save the 
system settings. 

6. Press [EXIT] to return to the previous screen. 

For details on operations in MIDI mode, refer to Exchanging 
MIDI Messages with Your Computer (MIDI Mode) (p. 169). 



Transferring Files to or from 
Your Computer (Storage Mode) 



By connecting the JUNO-G with your computer via a USB cable, you 

can transfer files from Internal user area or a memory card to and 

from the hard disk or other media of your computer, in order to back 

up your data. 

You can use software on your computer to edit wave data you've 

created on the JUNO-G. Conversely, wave data that you've created 

on your computer can be used on the JUNO-G. 

In this way, USB Storage mode lets you transfer audio files to or 

from a connected computer. 

dan 

Never disconnect the USB cable or turn off the powrer if USB 
Storage mode is selected. 

1 . With the JUNO-G not connected, start up your computer. 

2. Use a USB cable to connect the JUNO-G to your computer. 

3. Turn on the power (POWER switch) of the JUNO-G. 

4. Press MODE [USB]. 

The USB SELECT screen appears. 

5. Press [F4 (INTERNAL)] or [F5 (PC CARD)] to connect with 
your computer. 

[F4 (INTERNAL)]: Connect to the user memory 
[F5 (PC CARD)]: Connect to the memory card 

• If MIDI mode was selected, a warning will appear. Press ]F6 (OK)] if 
you want to switch to USB Storage mode. Press [F5 (CANCEL)] if 
you decide to cancel. 

• To cancel the connection, press [F6 (EXIT)]. 

6. When you make the connection, one of the following indications 
will appear depending on the computer you're using. 

• Windows XP users 

A drive named "JUNO-G USER" will be displayed within My Computer. 
Below that drive there will be folders named "ROLAND" and "TMP." 

• Windows 2000 users 

A drive named "Removable disk" will be displayed within My Computer. 
Below that drive there will be folders named "ROLAND" and "TMP." 

• Macintosh users 

A drive icon named "JUNO-G USER" will appear on the desktop. 
If a memory card is connected, the volume name of the memory 
card will be displayed. 
Below it will be folders named "ROLAND" and "TMP." 




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Connecting to Your Computer via USB 



Cautions Regarding Folders and Files 

You must observe the foUomng points when the JUNO-G is 
connected to your computer via USB. 

• Don't use your computer to move or delete folders within the 
JUNO-G. 

• Don't use your computer to format or optimize the JUNO-G's 
user memory or memory card, or execute operations such as 
Scan Disk. 

• The JUNO-G can only handle filenames consisting of single- 
byte alphanumeric characters. 

• Only the following types of files can be transferred between the 
JUNO-G and your computer. 

Song files (.SVQ, .SVA) 
Standard MIDI Files (.MID) 
Audio files (.WAV/AIFF) 

• To handle these files, use the appropriate method described below. 



Song files. 
Standard MIDI Files 



Place the files in the following folder. 
ROLAND/SEQ/SNG folder 



Audio files When placing the files from your computer, 

place them in the following location. 

TMP/AUDIOJMPORT folder 
Then import the audio files. 
If you want to use your computer to read 
samples that were written by the JUNO-G, 
load the files from the ROLAND/SMPL fold- 
er into your computer. 

Don't use your USB-connected computer to delete or rewrite 
any files placed in the ROLAND/SND folder. 
Don't place any files in the ROLAND/SMPL folder. 



Exiting Storage Mode 

Windows Me/2000/XP Users 

1 . In My Computer, right-click the "removable hard disk" icon 
and execute "Remove." 

Macintosh Users 

1 . Drag the JUNO-G drive icon into the trash. 

Canceling USB Communication 

If you want to power off the JUNO-G when it is connected to your 
computer in Storage mode, you must first cancel USB 
communication on your computer as described here. 

Windows Me/2000/XP Users 

1 . Use the device eject button shown in the taskbar at the 
lower right of your computer screen to cancel the 
connection with the JUNO-G. 

Macintosh Users 

1 . Make sure that the JUNO-G drive Icon Is not on your 
desktop. 



Importing an Audio File 
(Import Audio) 

Here's how to import an audio file (WAV/AIFF). 



In order to import a file, it must be located in the following 
folder found on your computer. 

• Windows XP, Macintosh users 

JUNO-G USER (in the case of a card, the card volume)/ 
TMP/AUDIOJMPORT folder 

• Windows Me/2000 users 

Removable disk (in the case of a card, the card volume)/ 
TMP/AUDIOJMPORT folder 

• "/" indicates a directory level. 



For details on howr you can use your computer to copy files to 
user memory or to a memory card, refer to p. 167. 

1 . Press EDIT [AUDIO]. 

The SAMPLE EDIT screen appears. 

2. Press [F4 (LIST)] and then press [F5 (UTILITY)]. 

The Sample List Utility Menu appears. 

3. Press [F1 (IMPORT AUDIO)]. 

The IMPORT AUDIO screen appears. 

4. Press [F1 (USER)] or [F2 (CARD)] to select the Import- 
source area. 

[Fl (USER)]: Import from user memory 
[F2 (CARD)]: Import from a memory card 

5. Press [.▲] [■w\ to select the file that you want to import. 

If you want to select two or more files, press [F3 (MARK)] to 

add a check mark (^) to the files that you want to select. 

To remove the check mark from a selected file, select and press 

[F3 (MARK)] again. 

If you press [F5 (SET ALL)], a check mark will be added to all 

files of the selected folder. If you press [F4 (CLR ALL)], check 

marks will be removed from all selected files. 

6. Press [F6 (IMPORT)]. 

A message mil ask you for confirmation. 

7. Press [F6 (EXEC)]. 

The file will be imported, and the SAMPLE LIST screen will 
appear. 

* To cancel, press [F5 (CANCEL)]. 



(MEMO) 

The imported file will be added to the sample list as a sample. 
This sample is temporary, and will be lost when you turn off the 
power. If you want to keep it, press [WRITE] to save the data. 




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Connecting to Your Computer via USB 



Exchanging MIDI Messages 
vN^ith Your Computer 
(MIDI Mode) 



Driver Installation and Settings 

In order to use the JUNO-G as a USB MIDI device from your 

computer, you must first install the USB MIDI driver. The USB MIDI 

driver is on the included "JUNO-G Editor CD" CD-ROM. 

In order to use USB in MIDI mode, you must install the driver from 

the included CD-ROM into your computer. 

The correct driver and the installation procedure will depend on 

your system and on the other programs you are using. Be sure to 

read the Readme file on the CD-ROM before installation. 

Windows XP/2000 

\Win2kXP\Readme_E.htm 
Mac OS X 

\JUNO-G Driver OS X\Readme_E.htm 



Before Installing the Driver 

You must set the USB Mode of the JUNO-G to "MIDI mode." (p. 167) 






Caution v\^hen disconnecting the 
USB cable 

You must shut down your computer before disconnecting the 
USB cable. Disconnecting the cable while your computer's 
power is on may destabilize its operation. 



What is the USB MIDI Driver? 

The USB MIDI Driver is a software which passes data between 
the JUNO-G and the application (sequencer software, etc.) that 
is running on the USB-connected computer. 
The USB MIDI Driver sends data from the application to the 
JUNO-G, and passes data from the JUNO-G to the application. 




USB connector 



Computer 



USB cable 



USB connector 





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Using the Included SONAR LE 

To install the included SONAR LE sequencing software for 
Windows XP/2000 into your computer, follow the instructions given 
in "To install SONAR LE" in the SONAR LE package. 

You must perform the following steps before using SONAR LE. 

* Make sure that the included USB MIDI driver is installed. This is not 
necessary if you're using MIDI cables to connect the JUNO-G to your 
computer. 

1 . Power up your computer and start up Windows. 

2. Power up tlie JUNO-G, and switch) the JUNO-G to lUIIDI 
mode as described in "Using IVIIDI mode" (p. 167). 

3. Use a USB cable to connect tlie JUNO-G to your computer. 

* If you're using MIDI cables to connect the JUNO-G to your 
computer, there's no need to switch the JUNO-G to MIDI mode in 
step 2. In this case, use MIDI cables to connect the JUNO-G's rear 
panel MIDI connectors to the MIDI interface that's connected to your 
computer. 

4. Start up SONAR LE. 

Make MIDI device settings as described in SONAR LE's Help. 




169 




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Using JUNO-G Editor/Librarian 




■# 



To help you take even greater advantage of its functionality, the 
JUNO-G comes with JUNO-G Editor/Librarian software. 
JUNO-G Editor assigns parameters to sliders and knobs in the 
computer screen, allowing you to work efficiently in a graphical 
editing environment. 

UNO-G Librarian is software that lets you manage libraries of 
JUNO-G parameter data on your computer. It provides an efficient 
way to manage patch, rhythm set, and performance data. 



Installing JUNO-G Editor/ 
Librarian into Your Computer 



Carefully read the Readme file on the "JUNO-G Editor CD" CD- 
ROM included with the JUNO-G, and then install the JUNO-G 
editor/librarian. 

• Windows users 

In the "JUNO-G Editor CD" CD-ROM, open the "Readme_E.txt." 

• Macintosh users 

In the "JUNO-G Editor CD" CD-ROM, open the "ReadMe(English)." 



Making Connections 



1 . IVIalte sure thiat the USB iVIode parameter is set to "IVIIDI." 

Refer to "Using MIDI Mode" (p. 167). 

* If it is set to STORAGE, you cannot use the editor/librarian via a 
USB connection. 

2. Use an USB cable (sold separately) to connect the JUNO-G 
and your computer. 

JUNO-G 



©i 



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11' 



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USB 




Windows 



Macintosh 



About PC Mode 



If you start up the sample editor within JUNO-G editor or perform a 
Write operation from JUNO-G librarian, the JUNO-G will 
automatically switch to PC mode and will be inoperable from its 
own panel. This prevents conflict between operations on your 
computer and on the JUNO-G itself. 



i^flSEsa 


SSm. 





When you finish using the editor/librarian, the JUNO-G will exit PC 
mode, and the normal screen wrill reappear. 

Only in the event of emergencies, such as when your computer 
has crashed, you can press [F6 (EXIT)] to exit PC mode. A 
screen will ask you for confirmation; press [F6 (OK)] and the 
JUNO-G will be forcibly returned to the normal screen. 



JUNO-G Editor/Librarian 
System Requirements 



System Requirements (Windov^s) 

• Operating System 
Microsoft® Windows® XP 
Microsoft® Windows® 2000 Professional 

• CPU/Clock 

Pentium®/Celeron® processor 800 MHz or higher 

• Memory (RAM) 
384 M bytes or more 

• Hard Disk 

110 MB or more 

• Display/Colors 

800 X 600 or higher/65,536 colors (16 bit High Color) or more 



Microsoft and Windows are registered trademarks of Microsoft 
Corporation. 

Windoivs® is known officially as: "Microsoft® Windows® operating 
system." 

Pentium is a registered trademark of Intel Corporation. 



170 




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Using JUNO-G Editor/Librarian 



System Requirements (Mac OS) 

• Operating System 
Mac OS X 10.2 or later 

• CPU/Clock 

PowerPC G4 867 MHz or higher 

• Memory (RAM) 
384 MB or more 

• Hard Disk 

110 M bytes or more 

• Display/Colors 

800 X 600 or higher/32,000 colors or more 



Apple and Macintosh are registered trademarks of Apple Computer, 
Inc. 

Mac OS is a trademark of Apple Computer, Inc. 



While under most conditions, a computer similar to the above 
will permit normal operation of the JUNO-G Editor, Roland 
cannot guarantee compatibility solely on these factors. This is 
due to numerous variables that may influence the processing 
environment, such as differences in motherboard design and 
the particular combination of other devices involved. 

Unauthorized duplication, reproduction, hiring, and lending 
prohibited. 

Before you open the included CD-ROM, you must read the 
"license agreement." Opening the CD-ROM will be taken to 
mean your acceptance of the license agreement. 




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4^ 




About V-LINK 



What is V-LINK? 




V-LINK is a function that allows music and images to be performed 
together. By using MIDI to connect two or more V-LINK compatible 
devices, you can easily enjoy performing a wide range of visual effects 
that are linked to the expressive elements of a music performance. 
For example if you use the JUNO-G in conjunction with Edirol motion 
dive .tokyo Performance Package, you'll be able to do the following 
things. 

• Operate the JUNO-G to make the necessary settings for 
performing with motion dive .tokyo Performance Package. 

• Use the JUNO-G's song recorder to enjoy synchronized 
performances of music and video. 

• Use the JUNO-G's keyboard to switch images in motion dive 
.tokyo Performance Package. 

• Use the JUNO-G's CUTOFF knob and RESONANCE knob to 
control the brightness and hue of the image. 



Connection Example 



Connect the JUNO-G's MIDI OUT connector to your V-LINK 

compatible device. 

We will use Edirol motion dive .tokyo Performance Package as an 

example. 

Before connecting this unit to other devices, turn off the powrer 
to all units. This will help prevent malfunctions and/or damage 
to speakers or other devices. 





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Turning the V-LINK ON/OFF 



1 . Press [V-LINK] so the indicator is lit. 

The V-LINK screen appears, and the V-LINK setting will be on. 




Operations on the JUNO-G 

By operating the JUNO-G's keyboard and knobs, you can 

control the image along with your performance on the JUNO-G. 

• [Fl (CLIP)] (Chp Reset): Turns the image off (sohd black). 

• [F2 (ALL)] (All Reset): Resets the effect applied to the image, 
and restores all settings such as brightness and hue to their 
default values. 

• [F5 (SETUP)] : Accesses the V-LINK SETUP screen. 

• Black keys: Switch tabs. 

• White keys: Switch clips. 

• CUTOFF knob: Controls VISUAL PLUG-IN CONTROL. 

• RESONANCE knob: Controls COLOR EQ (Back). 

• D BEAM: Controls the parameter specified in V-LINK setup. 

• When you turn V-LINK on, the settings in V-LINK setup ivill take 
priority for D Beam operation. 

2. With the V-LINK screen shown, Press [V-LINK] again. 

The V-LINK button will go dark, and the V-LINK setting will be 
off. 



■# 



172 




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About V-LINK 



V-LINK Settings (V-LINK SETUP) 



1 . Press [V-LINK] to access the V-LINK screen. 

2. Press [F6 (SETUP)]. 

The V-LINK SETUP screen appears. 



BM»lil»H=*J|]g - 



:Tansmit MIDI Channel:- 
Note Tx Ch H 



Note Tx Ch B 
Note TX Ch c 
■CControl 1 er]« 
D Beam 



3. Use [^ [-w] to move the cursor to the parameter you want to edit. 



4. Use the VALUE dial or [INC] [DEC] to set the value. 




Parameter 


Value 


Explanation 




Note Tx Channel A 


1-16 


Controls the V-LINK device. Specify the MIDI channel. (*) 




Note Tx Channel B 




Note Tx Channel C 




DBEAM 


Assigns a V-LINK function to the D Beam controller. 




OFF 


The operation selected by [D BEAM] will occur regardless of whether 
V-LINK is on or off. 




ColorEQ Fore 


CCl (Modulation) 


Used with motion dive .tokyo Performance Pack- 
age 


ColorEQ Back 


CC71 (Resonance) 


Scratch SW 


CC3 


Speed Knob 


CCS (Balance) 


Total Fader 


CCIO (Panpot) 


Cross Fader 


cell (Expression) 


BPM Sync SW 


CC64 (Hold) 


Clip Loop SW 


CC65 (Portamento) 


Assign Knob 


CC72 (Release) 


Fade Time SW 


CC73 (Attack) 


Visual Knob 


CC74 (Cutoff) 


ABSW 


CC81 (GeneraL6) 


TapSW 


CC83 (General-8) 


Total Select 


CC85 


FX Select 


CC86 


Play Fos 


CC91 (Reverb) 


LoopStartPos 


CC92 (Tremolo) 


Loop End Pos 


CC93 (Chorus) 


LayerModeSel 


CC94 (Celeste) 


Dissolve Time 


CC73 (Attack) 


Used with the DV-7PR and similar devices. 


Color Cb Ctrl 


CCl (Modulation) 


Color Cr Ctrl 


CC71 (Resonance) 


Brightness Ctrl 


CC74 (Cutoff) 


VFXl Ctrl 


CC72 (Release) 


VFX2 Ctrl 


CC91 (Reverb) 


VFX3 Ctrl 


CC92 (Tremolo) 


VFX4 Ctrl 


CC93 (Chorus) 


Fade Ctrl 


CCIO (Panpot) 



* : On V-LINK compatible devices such as the Edirol DV-7PR/P-1, only Note Tx Channel A is used. 
In motion dive .tokyo Performance Package, the Note Tx Channel corresponds as follows. 
A: The MIDI channel that controls section A 
B: The MIDI channel that controls section B 
C: The MIDI channel that controls the MIDI note plug-in 

5. If you want to keep your settings, press [F6 (WRITE)]. 

6. Press [F5 (EXIT)] or [EXIT] to return to the previous screen. 




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4^ 




Installing the Wave Expansion Board 




An optional Wave Expansion Board (SRX series; sold separately) can 
be installed in the JUNO-G. 

Wave Expansion Boards store Wave data, patches, and rhythm sets, 
and by equipping the JUNO-G with these boards, you can greatly 
expand your sound palette. 



Cautions When Installing a 
Wave Expansion Board 



To avoid the risk of damage to internal components that can be 
caused by static electricity, please carefully observe the following 
whenever you handle the board. 

• Before you touch the board, always first grasp a metal object 
(such as a water pipe), so you are sure that any static 
electricity you might have been carrying has been discharged. 

• When handling the board, grasp it only by its edges. Avoid 
touching any of the electronic components or connectors. 

Use a Phillips screwdriver that is suitable for the size of the screw 
(a number 2 screwdriver). If an unsuitable scre^vdriver is used, 
the head of the screw may be stripped. 

To remove a screwr, rotate the screwdriver counter-clockwise. To 
tighten the screws, rotate the screwrdriver clockwise. 



loosen 



When installing a Wave Expansion Board, remove only the 
specified screws. 

Be careful that the screws you remove do not drop into the 
interior of the JUNO-G. 

Do not leave the bottom cover removed. After installation of the 
Wave Expansion Board is complete, be sure to replace the cover. 

Be careful not to cut your hand on the edge of the cover or the 
opening edge while removing the cover. 

Do not touch any of the printed circuit pathways or connection 
terminals. 

Never use excessive force when installing a circuit board. If it 
doesn't fit properly on the first attempt, remove the board and try 
again. 

When circuit board installation is complete, double-check your 
work. 




HovN^ to Install a Wave 
Expansion Board 



Install the Wave Expansion Board after removing the bottom panel 
cover. 

1 . Before installing the Wave Expansion Board, turn off the 
power of the JUNO-G and all connected devices, and 
disconnect all cables. Including the AC adaptor, from the 
JUNO-G. 

2. From the JUNO-G, remove only the screws shown In the 
following diagram, and detach the cover. 



3. 



JUNO-G : bottom 



• ■■ Screws to be removed 




dan 

When turning the unit upside-down, get a bunch of newspapers 
or magazines, and place them under the four corners or at both 
ends to prevent damage to the buttons and controls. Also, you 
should try to orient the unit so no buttons or controls get 
damaged. 



dan 

When turning the unit upside-down, handle with care to avoid 
dropping it, or allowing it to fall or tip over. 




As shown In the following illustration, plug the connector of 
the Wave Expansion Board Into the connector of the 
relevant slot, and at the same time Insert the board holder 
through the hole of the Wave Expansion Board. 



Board holder 



Connector 




Position it as shown 
before you instaii 
the board. 




■# 



174 




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Installing the Wave Expansion Board 




4. Use the Installation Tool supplied with the Wave Expansion 
Board to turn the holders In the LOCK direction, so the 
board will be fastened In place. 



LOCK 



Installation tool 




5. Use the screws that you removed In step 2 to fasten the 
cover bacl< In place. 



Checking the Installed Wave 
Expansion Board 



After installation of the Wave Expansion Board has been completed, 
check to confirm that the installed board is being recognized 
correctly. 

1 . Turn on the power, as described In p. 15. 

2. Press EDIT [MENU] to open the Top Menu window. 

3. Press [^ [■w] to select "2. System," and then press 
[ENTER]. 

4. Press [F6 (INFORMATION)]. 

The SYSTEM INFO screen appears. 

5. Press [F2 (SRX)]. 

Verify that the name of the installed Wave Expansion Board is 
displayed. 



| *jnfctjda»iai^ 
SRXII 



EXPANSION 
BOARD 



SEX Information 



SRX-05 SupDance 



* If the name of the board does not appear, it is possible that the board is 
not being recognized correctly. Turn off the power as described in 
Turning Off the Power (p. 15), and re-install the Wave Expansion 
Board correctly. 

6. Press [EXIT] to exit the SYSTEM INFO screen. 



■# 



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4^ 




Expanding the Memory 




The JUNO-G comes with 4 MB of memory into which audio samples 
can be loaded. However, in some cases, 4 MB of memory will be 
insufficient for loading large amounts of data. In such a case, you 
will have to add separately sold memory (DIMM). Memory can be 
expanded up to 64/128/256/512 MB. 

Before expanding the memory, consult with your retailer, the nearest 
Roland Service Center, or an authorized Roland distributor. 



Precautions for Expanding 
Memory 



To avoid the risk of damage to internal components that can be 
caused by static electricity, please carefully observe the following 
whenever you handle the board. 

• Before you touch the board, always first grasp a metal object 
(such as a water pipe), so you are sure that any static 
electricity you might have been carrying has been discharged. 

• When handling the board, grasp it only by its edges. Avoid 
touching any of the electronic components or connectors. 

Use a Phillips screwdriver that is suitable for the size of the screws 
(a number 2 screwdriver). If an unsuitable screwdriver is used, 
the head of the screw may be stripped. 

To remove a screwr, rotate the screwdriver counter-clockwise. To 
tighten the screws, rotate the screwrdriver clockwise. 



loosen 



Install only the specified memory DIMM board. Remove only the 
specified screws. 

Be careful that the screws you remove do not drop into the 
interior of the JUNO-G. 

Do not leave the bottom cover removed. After installation of the 
memory module is complete, be sure to replace the cover. 

Be careful not to cut your hand on the edge of the cover or the 
opening edge while removing the cover. 

Do not touch any of the printed circuit pathways or connection 
terminals. 

Never use excessive force when installing a circuit board. If it 
doesn't fit properly on the first attempt, remove the board and try 
again. 

When circuit board installation is complete, double-check your 
work. 




HovN^ to Expand the Memory 



Install the memory module after removing the bottom panel cover. 

1 . Before expanding the memory, turn off the power of the 
JUNO-G and all connected devices, and disconnect all 
cables, including the AC adaptor, from the JUNO-G. 

2. From the JUNO-G, remove only the screws shown in the 
following diagram, and detach the cover. 



JUNO-G : bottom 



; Screws to be removed 




dan 

When turning the unit upside-down, get a bunch of newspapers 
or magazines, and place them under the four corners or at both 
ends to prevent damage to the buttons and controls. Also, you 
should try to orient the unit so no buttons or controls get 
damaged. 



dan 

When turning the unit upside-down, handle with care to avoid 
dropping it, or allowing it to fall or tip over. 




Press outward the white clips at either end of the socket 
should be in the downward position. 




■# 



176 




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JUNO-G_e.book 177 '^-y 2006^2^130 ^BIB ^<ft2B$445J- 



Expanding the Memory 




■# 



4. Paying attention to the location of tlie notch on the memory 
module and the orientation, insert it vertically within the 
guides at either side of the socket. 




If you have difficulty inserting the memory module, try tilting it 
a bit and inserting one end at a time. 

5. Move the white clips upward, and press them until the 
memory module is locked in place. 




6. Use the screws that you removed in step 2 to fasten the 
cover back in place. 



Removing the Memory 



To remove the memory module, reverse the installation procedure. 

1 . Simultaneously press outward the white clips located at 
either end of the socket. 




2. Remove the memory module from the socket. 



Checking that memory is 
installed correctly 



1 . Turn on the power, as described in p. 15. 

2. Press EDIT [MENU] to open the Top Menu window. 

3. Press [^ [-w] to select "2. System," and then press 
[ENTER]. 

4. Press [F6 (INFORMATION)]. 

The SYSTEM INFO screen appears. 

5. Press [F1 (MEMORY)]. 

Verify that the screen correctly shows the amount of memory 
you installed. 



fc«fctjda»iaija 



Sample: 

User 

Card 



Memory Infor-mation 



163.aMB 59. 9\ Free 
B.aMB a.a\ Free 
a.aMB a.a\ Free 

ir""SRX""Y'(l'ERSiQH'^ 



* If the correct amount of memory is not shown, it is possible that the 
memory is not being recognized properly. Turn off the power as 
described in Turning Off the Power (p. 15), and re-install the 
memory correctly. 

6. Press [EXIT] to exit the SYSTEM INFO screen. 



Specifications of the expansion memory 
(DIMM) that can be used 

Number of pins: 168-pin 

Speed: 100 MHz (PCIOO CL=2) 

133 MHz (PC133 CL=3) 

3.3 V 

64/128/256/512 MB 

38 mm or less 



Voltage: 
Capacity: 
Board height: 

csm 

The JUNO-G has been confirmed to work with standard 
memory that meets the above specifications. However, we 
cannot guarantee that all memory of these specifications will 
work correctly. Please be aware that even with identical 
specifications, differences in the design of the memory module 
or the conditions of use may mean that a memory module may 
not be usable. 



177 




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Using a Memory Card 




■# 



The JUNO-G features a PC card slot, allowring you to use 
CompactFlash or SmartMedia via the appropriate PC card adaptor. 



Before Using the Memory 
Card 



Make sure that the correct side of the card is facing upward, and 
insert it into the JUNO-G's PC card slot. When you need to remove 
the card, press the eject button located beside the card. 



PC CARD 



Eject ■ 



fe 



£E 



n 



memory 
card 



Writing data to the card 



Patches, rhythm sets, performances, samples, and song data can be 
written to the card. For details on the writing procedure, refer to the 
explanation for the corresponding parameters. 



Installing the PC Card 
Protector 



The JUNO-G provides a PC card protector to prevent theft of the 
memory card. To install the PC card protector, use the following 
procedure. 



1. 

2. 
3. 



Use a screwdriver to remove both of the screws from the 
bottom side of the PC CARD slot. 

Insert the memory card into the PC CARD card slot. 

Use the screws to fasten the PC card protector as shown 
below. 



Memory card 




PC card protector 



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Troubleshooting 



If the JUNO-G does not function in the way you expect, first check 
the following points. If this does not resolve the problem, consult 
your dealer or a nearby Roland Service Station. 

• If any sort of message is being displayed on the screen during an 
operation, refer to Error Messages (p. 186). 

Problems Concerning the Entire 
JUNO-G 

pl The power does not turn on. 

W3 Make sure that the JUNO-G's AC adaptor is correctly connected 
to an AC outlet and to the rear panel power connector, and that 
the adaptor itself and AC power cable are connected correctly 
(p. 14). 

Issues Related to Sound 

Pi There is no sound. 

W3 Check the following points. 

• Is the power for connected amps and speakers turned on? Is the 
volume turned all the way down? 

• Is the VOLUME knob turned all the way down? 

• Have connections been made correctly? 

• Can you hear sound through headphones? 

If there is sound in the headphones, it is possible that the 
connection cables are broken, or that your amp/mixer has 
malfunctioned. Check your cables and amp/mixer system once 
again. 

• If you do not hear sound when you play the keyboard, check 
whether the Local Switch is turned OFF. 

Make sure that the Local Switch parameter is turned on (p. 160). 

• Have all tones in the patch been turned off? 
Turn on "Tone Switch." 

• The Part level settings may be too low. 

Access the Level parameter, and check the level of each part (p. 
64). 

• Are the Effect settings correct? 

Check the Effect settings ON or OFF, the Effect Balance or Level 
(p. 125). 

• Are the settings for the output destination correct? 

Check the various output assign settings (p. 48, p. 57, p. 65, p. 
126, p. 127). 

• Is the Wave Expansion Board properly installed? 

When selecting the settings that stipulate the use of EXP waves. 
Patches, or Rhythm Sets, check that the Wave Expansion Board 
is installed properly in the slot (p. 174). 

• Has the volume been lowered by pedal operations or by MIDI 
messages (volume messages or expression messages) received 
from an external MIDI device? 

• Have the samples been loaded correctly? (p. 115) 



Pi a specific Part does not sound. 



Check the following points. 

Has the volume level of the part been lowered? 

Adjust the Level parameter to raise the volume of the part that 

is not heard (p. 64). 

Is the part being muted? 

Set the Mute parameter to "OFF" (p. 64). 



C ^l Specific pitch ranges do not sound. 



W^ Has a restricted range of notes been set? 

If a specific range of notes does not sound, check the Key Range 
settings for the Patch Tone, the Performance Part. 

• Tone Key Range 

Key Range Lower/Key Range Upper parameter (p. 37) 

• Part Key Range 
K.L/K.U parameter (p. 66) 

Pi The sound is distorted. 

W3 Check the following points. 

• Is an effect which distorts the sound being applied? 

If the sound for a specific patch or part is distorted, lower the 
volume level on that part. 

• If all sounds are distorted, use the VOLUME knob to lower the 
volume level. 

• Could the Output Gain be excessively high? 
In "System," check the "Sound" parameter. 

PI Pitch is incorrect. 

W3 Check the following points. 

• Is the tuning of the JUNO-G incorrect? 

Check the Master Tune parameter setting (p. 158). 

• Has the pitch been changed by pedal operations or by Pitch 
Bend messages received from an external MIDI device? 

• Have the Coarse Tune or Fine Tune parameters been set for 
specific Parts? 

Check the Coarse Tune parameter and Fine Tune parameter 
settings (p. 65). 



Pi The sound is interrupted. 

W3 Sounds will be interrupted if more than 128 voices are used 
simultaneously. 

• Reduce the number of Tones that you are using. 

• Increase the Voice Reserve setting for parts that must not drop 
out (p. 66). 

Pi When 1 play the keyboard, notes do not stop. 

W^ Is the pedal polarity of the Hold Pedal reversed? 

Check the Hold Pedal Polarity parameter setting (p. 159). 




179 




JUNO-G_e.book ISO'^-y 2006^2^130 ^BIH ^lS2a$445J- 



Troubleshooting 



© 



Fl The sound cuts off when I switch Patches in Patch mode. 

W3 Although you can apply a wide variety of multi-effects mth the 

JUNO-G's multi-effects, switching the Patch also switches the 
type of multi-effects used. 

In such instances, discrepancies between the sound being 
produced and the multi-effects type can arise, which may result 
in sounds being different than intended, so sounds produced 
when Patches are switched may be muted when factory settings 
are in effect. In certain situations, such as when not using multi- 
effects that have a great influence on the sound, remembering to 
set Patch Remain parameter (p. 158) to "ON" allows you to 
switch Patches without sounds being muted. 

Pi When switching Patches in Patch mode, the volume and other 
parameters set with Control Changes end up being reset. 

W3 Set Patch Remain parameter (p. 158) to "ON." Even once they 

have switched Patches, Control Change messages that have 
been received are carried forward, so even when switching a 
Patch whose level is turned all the way down by a Control 
Change volume message, the level remains unchanged. 

If the Tone Delay time value is set to the note, then does the 
delay time not change beyond a fixed length when the tempo is 
slowed down? 

VJ There is a maximum permissible value for the Tone Delay Time 
parameter (p. 45). So, if the time setting is specified in terms of a 
note value, and the tempo is slowed down, this maximum 
permissible value will be reached, and it cannot be increased 
further. The upper time limit for each is the maximum value 
that can be set other than the numerical value for the beat. 

Pi Even when I set the Pan for a Patch completely to one side, 
sound still comes from the other channel. 

W3 The JUNO-G's internal effects are in stereo, so if you have 
effects applied to a Patch, even if the Pan is set all the way to 
one side, you will still be able to hear sounds of the effect 
component from the other channel. 

f*! Sometimes, when playing legato, the pitch won't rise. Why is 
this? 

WjM When the Legato Smtch parameter (p. 37) is "ON," and the 

Legato Retrigger parameter (p. 37) is "OFF," and you hold 
down keys in the high register to play legato, the upper pitch 
limit of the wave may be exceeded, so that the pitch does not 
rise as far as you expect, but will stop rising at a certain point. 
Additionally, if differing upper pitch limits are used for the 
waves of a Patch that uses multiple tones, it may stop being 
heard in MONO. When making large pitch changes, set the 
Legato Retrigger parameter to "ON." 

^y The notes sound strange in the upper registers of the keyboard. 

W3 Sometimes when playing the keys in the upper part of the 

JUNO-G's keyboard, the sound may stop, or the pitch may stop 
rising; or with certain keys, there may be intermittent noise. 



This occurs mainly when the JUNO-G's upper pitch limit is 
exceeded, so this issue doesn't arise in the ranges normally 
used. But, in any case, it does not indicate a malfunction. 

C >1 Although the same Patch is selected, it sounds different when I 
listen to it in the Performance. 

W^ In Performance mode, the parameters of each part of the 

performance can apply further modification to parameters such 
as pan, octave, and filter, relative to the settings specified by the 
patch. Thus, Patches in a Performance may sound different than 
they do when heard in Patch mode. 

Additionally, although a Patch may comprise tones created 
with the use of the multi-effects, the multi-effects used in the 
Performance may differ from the multi-effects selected by the 
Patch. Check the multi-effect settings of the performance. Also 
do the same for the Chorus and Reverb settings. 

C >1 The volume level of the instrument connected to JUNO-G is too 
low. 

W3 Could you be using a connection cable that contains a resistor? 
Use a connection cable that does not contain a resistor. 

Issues Related to Effects 

C ^l Effects not applied. 

W3 Check the following points. 

• The "MFX," "CHO," "REV" or "MASTER" effect switches 
located in the upper part of the PLAY screen may have been 
turned off. 

Press [EFFECTS] /[F6 (SWITCH)] to turn them on. 

• Are the various effect settings correct? (p. 125) 

• If the send level of each effect is set to 0, the effect will not be 
applied. Check the settings. 

• Even with send levels to each effect set at 0, effects are not 
applied if the Multi-effects Output Level, the Chorus Level, or 
the Reverb Level is set to 0. Check each setting. 

• If Output Assign is set to other than "MFX," the Multi-effects 
sound will not be output. 

• If Output Assign is set to "PATCH" for each Part of the 
Performance, the sound will be output according to the Output 
Assign settings of the Patch (for each Tone) which is assigned to 
those Parts. This means that if Output Assign for the Patch 
(each Tone) is set to other than "MFX," the Multi-effects sound 
will not be output. 

C >1 The Modulation or other controller is always on. 

W3 Check the Matrix Controller settings (p. 44). 

The JUNO-G allows you to use the Matrix Control to control 
Patches in real time. The Matrix Control functions as the control 
source for the Control Change and other MIDI messages 
received by the JUNO-G, and makes changes to the various 
Patch parameters based on these messages. 
Depending on these settings, the JUNO-G may be responding to 
MIDI messages sent from external MIDI devices, and may result 




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(^ 



the Patches sounding different than intended. 
Pt Raising the chorus or reverb send level for each part of a 
performance still does not cause the effect to be applied 
sufficiently. 

WjM Although you can make Send level settings to the Chorus and 
Reverb for each individual Part in a Performance, these values 
only set the upper limit of the Chorus and Reverb Send levels 
for the Patch used. Accordingly, even when the value is set to 
the maximum of 127, if the Send level is lowered in the Patch 
being used, there will be no effect. In addition, different Patch 
Chorus and Reverb Send level settings can be used according to 
whether or not the multi-effects are used. 

V^l Using the Matrix Control or other such means to control the 
LFO results in noise when the Pan is changed suddenly. 

WjM Lower the change in speed (LFO Rate). 

Due to the specialized processing used for the Pan, which alters 
the volume level in each of the left and right sides, sudden Pan 
movements causing rapid changes in these levels creates large 
changes in volume, and noise from this may be audible as a 
result. 

^^ Multi-effect 43: TAP DELAY or other delay time value is set to 
the note, and then the tempo is slowed down, does the delay 
time not change beyond a fixed length? 

WjS Such Delay time settings have an upper limit, so if the upper 
limit of a value set to the note is exceeded when the tempo is 
retarded, that upper value cannot rise any further. The upper 
time limit for each is the maximum value that can be set other 
than the numerical value for the beat. 

Issues Related to Saving Data 

Pi The Performance sounds different than when it was written. 

W^ Check the following points. 

• If you have modified the settings of a patch used by a 
performance, or if the temporary patch of the performance has 
been modified by an external MIDI device, these patches must 
also be saved. 

If patches used by a performance have been edited when you 
write that performance, the JUNO-G will display a message 
asking whether you wrant to discard these patches. In such 
cases, first save the patch (p. 32) or rhythm set (p. 51), and then 
save the performance (p. 63) again. 

• The Mastering Effect settings may have changed. (These 
settings are not stored as part of a performance.) 

Fl Patches sound different than when virritten. 

W3 Check the following points. 

• The write operation cannot be used to save Patches as changed 
in Patch mode using Control Change messages from an external 
MIDI device. 

• The Mastering Effect settings may have changed. (These 
settings are not stored as part of a patch.) 



Pi The Arpeggio and D Beam controller settings in the 
Performance are different than those for the Patch. 

W3 Since the JUNO-G stores arpeggio and D Beam controller 

settings for each performance, it will operate according to the 
arpeggio and D Beam controller settings that were specified for 
each performance. 

Issues Related to Song Recorder 

C >1 Song data is not played back correctly. (Only one instrumental 
sound is heard, the wrong sound is heard, there's no sound, etc.) 

Vil Check the following points. 

• Could the JUNO-G be in Patch mode? 

In Patch mode, it may be that only a single instrumental sound 
can be heard. Put the JUNO-G in Performance mode if you're 
playing back song data that consists of multiple channels. 

• Could you be playing back the song data from the middle of the 
song? 

If the song doesn't sound right, execute MIDI Update (p. 86). 

• Could the patches used by the song be using samples that aren't 
loaded? 

You'll need to load the necessary samples before you carry out 
playback (p. 115). 

• Could you have activated Track Mute? 
Cancel the muting (p. 85). 

• Could you be using Quick Play? 

If you're using Quick Play, audio tracks won't play back (p. 84). 

• Are the sound generator settings correct? 
(Refer to: Issues Related to Sound, p. 179) 

Pi The tempo is different than the last time 1 played back the song. 

W^ If a song is played back after the tempo is changed, then the 
new tempo is not saved unless the song is saved to the user 
memory or memory card. Conversely, the previous tempo will 
be erased when you save the song. When saving songs, 
carefully check the current tempo. 

Pi Marker locations set in song have disappeared. 

ViJ Check the following points. 

• Was the disk saved in a format other than Song File format 
(SMF or 1)? 

Marker locations will be saved with the song data only when 
saving in Song File format. 

• Are you using Quick Play? 

In order to use Marker locations, the song must be loaded into 
the JUNO-G. 

Pi Can I easily move to a desired measure? 

Vil Yes, you can. The JUNO-G's Marker function lets you easily 
move to a desired measure by pressing a switch. 




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Can I record an audio source such as guitar or vocals at the 

same time that I record a MIDI performance from the JUNO-G's 
keyboard? 

W3 It's not possible to record on an audio track at the same time 
that you record MIDI from the JUNO-G's keyboard. Record 
your performance on the JUNO-G's keyboard as MIDI, and 
then overdub your audio performance on an audio track. 

Pi Sound Device Tones Are Switched Arbitrarily 

W3 Use the Microscope (p. 99) to check the following points. 

• Has an unneeded program change been input? Or are there 
duplicate program changes? 

• Were any mistakes made in setting the data MIDI channels 
when Program Change messages were input? 

t*i Data supposed to be present does not appear in microscope. 

W3 Check the following points. 

• Are the wrong tracks selected? 

• In View Select (p. 101), is any data set not to be displayed? 

f»l When 1 play back song data, I hear the sounds of the GM sound 
generator. 

WjM If the song data contains GM System On, GM2 System On, or 

GS Reset MIDI messages, the sound generator will switch to 
GM mode. To prevent this, turn the following reception settings 
"OFF" (p. 161). 

[SYSTEM SETUP] MIDI Receive: Receive GM System On, 
Receive GM2 System On, and Receive GS Reset On 

pi Music data (GM scores) does not play back correctly 

W3 Check the following points. 

• Has the Receive General MlDl/General MIDI 2 System On 
Switch been turned ON? 

Set the Receive GM System ON/Receive GM2 System ON 
parameter (SYSTEM/ MIDI /RX) to "ON" (p. 161). 

• Are you trying to start playback from midway through the 
song? 

The beginning of a GM score song contains a General MIDI/ 
General MIDI 2 System On message. In some cases, a GM score 
cannot be played back correctly unless this message is received. 

• Are you trying to play song data designed for the GS Format? 
When the JUNO-G receives a GS Reset message, the JUNO-G is 
enabled for the GS format. This permits playback of music data 
bearing the GS logo (GS music data). However, data created 
exclusively for the Sound Canvas Series may not play back 
properly on the JUNO-G. 

C>1 After using a song recorder to play a song, sounds stopped 
playing, and no sound is played even when Program Changes 
are sent. 

WjM It could be that a Bank Select in the song data that is not 

specified by the JUNO-G was encountered in the song. No 
sound is played if the tone group is not one designated by the 



JUNO-G with Bank Select MSB/LSB. Note that if you omit the 
Bank Select, and send only the Program Change, the tone in the 
currently selected group that has the specified Program Change 
number will play. Try reselecting the tone using the panel 
controls. Furthermore, when selecting tones from an external 
MIDI device, be sure to send the Bank Select MSB/LSB and the 
Program Change as a single set for reliable reproduction. First 
sending the MSB and LSB (the order in which these are sent 
does not matter), followed by the Program Change. 
In some cases, you may be unable to hear any sound after 
playing the last song that was faded-out. This may be because 
the volume has been lowered by volume messages or 
expression messages. Check the value of these messages, and 
set them to appropriate values. 

C ^l Performances are sluggish, or have interruptions. 

ViJ Problems of sluggish and interrupted performances can crop up 
very easily when the song recorder or sound generator used for 
the performance has to handle heavy data loads. 
Main causes and possible corrective measures are considered 
below. 

• Are more than 128 voices playing simultaneously? 
Reduce the number of voices. The composition of JUNO-G 
Patches is such that up to eight Waves may be used for one 
Patch. When using such Patches, even though only one sound 
may be heard, it is actually eight sounds that are being played 
simultaneously. In addition, with certain sounds like 
continuous sounds with long releases, even though the actual 
sound may not be audible to you, processing for playing the 
sound is still underway, so in these cases as well, the 
performance data can differ from the actual number of voices 
being played. 

• Are you using a Patch that uses a lot of LEO? 

Try changing to a different Patch. LEO processing invariably 
places a big load on the machine, so heavy use of the LEO slows 
down processing for the JUNO-G overall, wrhich can end up 
having affecting the expression of sounds themselves. 

• Is the data concentrated at the beginning of the beats in the 
sequence data? 

Avoid overlapping data with the same timing by setting an 
offset of 1-2 clocks instead. Data may easily become 
concentrated at the beginning of the beats in the song data 
when, for example, the song data is input using Step Recording, 
or if the data is quantized after being input with a keyboard in 
real time. Because of this, large amounts of data are sent to the 
JUNO-G, and the processing for expressing sounds becomes 
bogged down. 

• Is there a Program Change at the point where the song 
performance is sluggish? 

Change the position of the Program Change. When Program 
Changes are inserted in songs, processing time for switching 
patches increases, which may then cause the performance to 
become sluggish. 

• Is there a System Exclusive message at the point where the song 
performance is sluggish? 

Move the location of the data. System Exclusive messages 




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contain large amounts of data, thus placing a heavy burden on 
song recorders and sound modules. Try repositioning data and 
changing System Exclusive messages to Control Changes for 
any data for which Control Changes can be substituted. 
• Is there an Aftertouch or other such large Control Change at the 
point where the song performance is sluggish? 
Move the location of the data. If the data is no longer needed, 
delete the data. In some cases, when using a keyboard that 
features aftertouch to input data, you may end up inputting 
huge amounts of data before realizing this is happening. Such 
large amounts of data can place an excessive load on your song 
recorder and sound module. 

t"»l Can I load "MRC Pro songs (SVQ files)" that were created on 
other Roland products (such as one from the Fantom-X series)? 

WjM It's not possible to load such data. The filename extension is the 
same, but the data cannot be loaded because the song format is 
different. 

pi How can I delete a song that I saved to user memory or a 
memory card? 

WjM You can delete songs in the SONG LIST screen. Access the 

SONG LIST screen, select the song that you want to delete, and 
then press [F4 (DEL SONG)] to delete it (p. 116). 

C>1 When 1 attempt to save a JUNO-G song as SMF, I can't select 
"Save As SMF." 

W^ If you're unable to save a song as SMF, it's possible that the 

song contains copyright information. For example if you use the 
JUNO-G to create a song based on commercially available SMF 
data containing copyright information, you won't be able to re- 
save that song as SMF data. (You will be able to save it as a song 
(SVQ) file.) Copyright information included in a song cannot be 
removed using the JUNO-G. Nor is it possible to use the JUNO- 
G to add copyright information to a song or view it in the 
display. Since the demo songs also contain copyright 
information, you won't be able to save them as an SMF even if 
you've deleted the track data to create your own song. 

pi How much song data (what size, and how many songs) can the 

JUNO-G's internal memory hold? How much song data can an 
external memory card (PC card) hold? 

VaJ The JUNO-G's internal memory or an external memory card 

can both hold up to 999 songs with up to 9,990 measures. The 
maximum number of measures and the maximum number of 
songs may be less depending on how they occupy the memory 
capacity. 

Pi When 1 record sequence data from an external source into the 

JUNO-G's song recorder, all of the data becomes a single MIDI 
channel. 

WjS To prevent this from happening, so that the data is recorded 

separately for each MIDI channel (part), go to the System 
settings and turn the Remote Keyboard Swritch "OFF" (p. 160). 



Pi What types of sjmchronization signals does the JUNO-G's 
internal song recorder support? 

W3 The song recorder supports either Slave or Master 
synchronization for both MIDI Clock and MTC. 

Pi Can I make settings so that when I play back a song on the 

JUNO-G, a specific channel is played only by an external sound 
module and not by the internal sound generator? 

W3 Since the JUNO-G is designed to play both the internal sound 
generator and an external sound module simultaneously, you 
will have to mute the internal sound generator for channels that 
you want to play only on your external sound module. Mute 
your external sound module for channels that you want to play 
only on the internal sound generator. 

PI There's no indication of which MIDI track Ch/Part (channel/ 

part) was recorded. Which channel and part are used to record 
the data I play on the keyboard? 

W^ The data is recorded on the channel and part that are assigned 

to the keyboard. If you're in Performance mode, press MODE 
[PERFORM] and then press [F2 (KBD SW)] to check this (p. 60). 
If you're in Patch mode, press MODE[PATCH], then press EDIT 
[MENU], select "2. System," press [F3 (MIDI)], and check the 
Kbd Patch Rx/Tx Channel (p. 160). 

Pi Can I apply the JUNO-G's internal effects to the audio tracks? 

W3 Yes, you can. The following effects can be applied (p. 104, p. 125). 

Multi-effects (MFX 1-MFX 3), chorus (CHO), reverb (REV), 
mastering (MASTER) 

Pi Can a song I created using MIDI tracks be mixed down to an 
audio track? 

Vil Yes. The JUNO-G provides a Mixdown function that lets you mix 

down the performance of the MIDI tracks and audio tracks in the 
specified region to the single audio track you choose (p. 110). 

C >1 Can I transpose (change the key of) the audio data? 

^J Yes, you can do this in the AUDIO MIXER screen. Set the Audio 
Track Key Shift parameter (p. 111). 

Pi Can I record in mono on an audio track? 

W3 Yes, you can. In the Audio Rec Standby window, set Audio Rec 
Channel to "MONO" (p. 106). 

PI While recording on an audio track, the "Sample Memory Full" 
error appears, and recording stops. 

W^ Sample memory has become full. If this occurs, you can create 
free sample memory in either of the following ways. 

• Delete unneeded sample data (p. 118). 

• Install more memory (p. 176). 




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Issues Related to MIDI and 
External Devices 

C »l No Sound from connected MIDI device. 

W3 Check the following points. 

• Is the instrument set to transmit MIDI messages? 

• In Patch Mode 

Kbd Patch Rx/Tx Channel parameter (p. 160) 

• In Performance Mode 
KBD switch (p. 60). 

Pi Exclusive messages are not received. 

WjS Check the following points. 

• Is the instrument set to receive Exclusive messages? 
Set the Receive Exclusive parameter to "ON" (p. 161). 

• Does the Device ID number of the transmitting device match 
the Device ID number of the JUNO-G? 

Check the Device ID parameter (p. 160). 

pi I connected an external sequencer or MIDI keyboard to the 

MIDI IN connector, and attempted to play a JUNO-G rhythm 
set, but there was no sound. Why? 

W3 Check to make sure that the MIDI Transmit channel of the 

external MIDI device and the JUNO-G's MIDI Receive channel 
are matched. The MIDI Receive channel used by the JUNO-G in 
Patch mode is set with the Kbd Patch RX/TX Channel 
parameter. Rhythm Set performance data is generally received 
on MIDI Channel 10. 

Pi Messages from MIDI IN are not being received. 

ViJ Additionally, the MIDI IN connector cannot be used if USB 
Mode (p. 167) is set to MIDI. Set the USB mode to Storage. 

Pi When using sequencing software, operating the knobs or other 
controls does not affect the sound. 

WjM For some sequencing programs. System Exclusive messages are 
not transmitted by the Thru function. If you are using such 
sequencer software and want to record system exclusive 
messages, turn on the following parameters. 

• In Patch Mode 

Local Switch parameter (p. 160). 

• In Performance Mode 
KBD switch (p. 60). 

PI When the Bend Range for a Patch is increased (48), the pitch 
does not rise sufficiently, even when a MIDI Pitch Bend 
message is received. 

WjM While Patch Bend Ranges can be set anywhere between and 
48, when certain Waves in which the pitch is raised (in the + 
direction) are used, the pitch may stop rising at a fixed point, 
rather than continuing to go up. Although a value of 12 is 



ensured for the upper limit of raised pitches, use caution when 
setting the Bend Range above this figure. 

Issues Related to Audio Recording 

Pi External input sound cannot be heard/volume is too low. 

W3 Check the following points. 

• Could the level of the external input source be too low? 
Could the top panel AUDIO IN slider be turned down? 
Could the rear panel AUDIO INPUT LEVEL knob be turned 
down? 

• The volume of the device connected to AUDIO INPUT may be 
lowered. 

Adjust it to an appropriate level. 

• Are the audio cables connected correctly? 
Check the connections. 

• An audio cable may be broken. 

• Could you be using an audio cable with a built-in resistor? 
Use a connection cable that does not contain a resistor (e.g., 
Roland PCS series). 

PI External input sound is not stereo/is not monaural. 

W3 Check the following points. 

• In the INPUT SETTING screen that appears when you hold 
down [SHIFT] and operate the AUDIO IN slider, could Input 
Select be set to "LINE IN L" or "MICROPHONE"? 

Set "Input Select" to "LINE IN L/R" (p. 104). 

PI Mic sound is not output/is too weak. 

W3 Check the following points. 

• Is the mic cable connected correctly? 
Check the connection. 

• The mic cable may be broken. 

• The input source may be set to something other than mic. 
In the INPUT SETTING screen that appears when you hold 
down [SHIFT] and operate the AUDIO IN slider, set Input 
Select to "MICROPHONE" (p. 104). 

• The mic level may have been lowered. 

Could the top panel AUDIO IN slider be turned down? 
Could the rear panel AUDIO INPUT LEVEL knob be turned 
down? 



PI Can't record a sample. 



Check the following points. 

Is there enough memory capacity? 

If there is insufficient sample memory, a message of "Sample 

Memory Full!" will appear when you attempt to sample (p. 118). 

Erase unneeded samples to increase the amount of free space. 

If there is still not enough, install additional memory (DIMM 

modules), (p. 176) 




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© 



Recorded sound contains excessive noise or distortion. 

Check the following points. 

Is the input level appropriate? If the input level is too high, the 

recorded sound will be distorted. If it is too lov/, noise will be 

heard. When audio recording, turn the AUDIO IN slider in the 

AUDIO TRACK screen or AUDIO MIXER screen to adjust the 

level while watching the level meter displayed in the upper part 

of the display (p. 104). 

Are the effect settings appropriate? 

Some types of effect may increase the level louder than the 

original sample, or may intentionally distort the sound. Some 

effects will also cause noise to be emphasized. 

Temporarily turn off effects, and check whether the sample 

itself contains noise or distortion. Then adjust the effect settings 

appropriately. 

Are multiple samples being played simultaneously? 

Even if the level of each individual sample is appropriate, 

simultaneously playing multiple samples may cause the overall 

level to be excessively high, causing distortion. Lower the level 

of each sample so that the sound is not distorted. 



Issues Related to a Memory Card 

Ct Can't select data from a memory card. 

W3 Check the following points. 

• Is the memory card inserted correctly? 

Turn off the power, remove the memory card, then re-insert the 
memory card correctly. 

• Is the memory card an appropriate type? 

The JUNO-G can use either PC card type memory cards, or 
another type of memory card via a PC card adaptor. 

|"»1 I can't use a memory card. 

W^ Is the memory card formatted? 

An unformatted floppy disk cannot be used. Perform the 
Eormat procedure (p. 164). 




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Error Messages 



If an incorrect operation is performed, or if processing could not be performed as you specified, an error message will appear. Refer to the 
explanation for the error message that appears, and take the appropriate action. 



Message 


Meaning 


Action 


Cannot Edit Preset Sample! 


This is a preset sample, and therefore cannot be edited. 


— 


Card Not Ready! 


A memory card is not inserted in the slot. 


Insert a memory card into the slot. 


Data not found 


The data for placement is not specified. 


— 


Empty Sample! 


The sample contains no data. 


Select a sample that contains data. 


Empty Song! 


The song has not been recorded, and therefore cannot be 
played. 


Select a song that contains data. 


File Name Duplicate 


A file with the same name already exists. 


Delete the file bearing the same name from the disk, 
and if overwriting and saving the data, merely save 
the file. If you do not want to delete the file with the 
same name from the disk, either save the file with a 
different name. 


Illegal File! 


The JUNO-G cannot use this file. 


— 


IVIemory Damaged! 


The contents of memory may have been damaged. 


Please perform the Factory Reset operation. 

If this does not resolve the problem, please contact 

your dealer or the nearest Roland Service Center. 


Memory Full! 


Saving is not possible because there is insufficient space 
in the user area or memory card. 


Delete unneeded data. 


IVIIDI Offline! 


There is a problem with the MIDI cable connection. 


Check that the MIDI cable has not been disconnect- 
ed or broken. 


Movable onto Bar Line Only 


The beat change event can be put only on bar line (be- 
ginning of a measure). 




No More Note Numbers! 


A maximum of 16 different note numbers can be used in 
one style of the arpeggio/rhythm function. 


Please delete unneeded notes. 


No More Sample Numbers! 


The sample cannot be divided any further. 


Erase unneeded samples in order to allocate 256 or 
more consecutive sample numbers. 


Since fewer than 256 consecutive sample numbers are 
vacant, no further sampling is possible. 


No More Song Numbers! 


No more songs can be saved. A maximum of 256 songs 
can be handled simultaneously for both the user bank 
and card bank. 


Please delete unneeded songs. 


Now Playing! 


Since the JUNO-G is playing, this operation cannot be 
executed. 


Stop playback before you execute the operation. 


Permission Denied! 


The file is protected. 


— 


Playback Tempo Range Over 


Tempo values exceed the allowable limit, and data is 
created in which the closest time available within the al- 
lowable range is specified. 




Power off and check DIMM 


Turn off the power immediately, and re-insert the 
DIMM memory correctly. 


— 


Recording Parameter Error 


You are attempting to begin recording after a looped 
segment. 


You are attempting to begin recording within or be- 
fore a looped segment. 


Rec Over Flow 


Since a large amount of recorded data was input all at 
once, it could not be processed correctly. 


Reduce the amount of recorded data. 


Sample Lengtti Too Short! 


The sample is too short, and cannot be edited correctly. 


If the sample is extremely short, editing may not 
produce the desired result. 


Sample Memory Full! 


Since there is insufficient sample memory, no further 
sampling or sample editing is possible. 


Erase unneeded samples. 


Song Format Error 


This song is damaged. 


This song cannot be used. 


Song Full 


Since the maximum number of notes that can be record- 
ed in a song has been exceeded, no further recording/ 
editing is possible. 


Use the track edit Delete or Erase commands to re- 
move unneeded data from the song that you are re- 
cording/editing. 


Song Not Found 


The selected song cannot be found. 


— 


Too Many Sample Selected! 


The operation cannot be executed, since marks are as- 
signed to more than one sample. 


Either clear the marks, or mark only one sample. 


Unformatted! 


The memory card is in an unsupported format. 


Format the memory card. 


You Cannot Copy This Message 


This message cannot be copied. 


— 


You Cannot Erase This Message 


This message cannot be erased. 


— 


You Cannot Move This Message 


This message cannot be moved. 


— 




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Performance List 



USER 


(User Group) 






PRST (Preset Group) 






No. 


Name 


No. 


Name 


No. 


Name 


No. 


Name 


001 


Grand Orch 


033 


Rotary Multi 


001 


TrioPly Tmpl 


033 


AutoSequence 


002 


Clone Zone 


034 


Dist Gt Mult 


002 


Seq:Template 


034 


Jazzy Arps 


003 


Burning Lead 


035 


FreeFall Pad 


003 


Grand Orch 


035 


Rotary Multi 


004 


1:00AM 


036 


Delay Santur 


004 


Clone Zone 


036 


Dist Gt Mult 


005 


SweetTheramx 


037 


Str Stack 


005 


Burning Lead 


037 


FreeFall Pad 


006 


Brass Sect 


038 


JUNO Pop 2 


006 


1:00AM 


038 


Delay Santur 


007 


Jupiter8 Str 


039 


Triple Int 


007 


SweetTheramx 


039 


Str Stack 


008 


Japan Arp 


040 


Piano+Pad 2 


008 


Brass Sect 


040 


JUNO Pop 2 


009 


CompuTekno 


041 


Fat Synth 


009 


Jupiter8 Str 


041 


Triple Int 


010 


Infinite Phr 


042 


R&B Set 


010 


Japan Arp 


042 


Piano+Pad 2 


Oil 


Groove 007 


043 


RoUdHrp/Vel 


Oil 


CompuTekno 


043 


Fat Synth 


012 


Auto Trance 


044 


Bump It Up! 


012 


Infinite Phr 


044 


R&B Set 


013 


Pno/Bs Split 


045 


Slice Trance 


013 


Groove 007 


045 


RolldHrp/Vel 


014 


Digi & Ana 


046 


SyncLead Seq 


014 


Auto Trance 


046 


Bump It Up! 


015 


JUNO Split 


047 


Merry Festa 


015 


Pno/Bs Split 


047 


Slice Trance 


016 


Bari Arp 


048 


OrganAns/Mod 


016 


Digi & Ana 


048 


SyncLead Seq 


017 


Tempest 


049 


90's Set 


017 


JUNO Split 


049 


Merry Festa 


018 


Highland 


050 


80's Set 


018 


Bari Arp 


050 


OrganAns/Mod 


019 


Sound Alarm 


051 


Angelis Pad 


019 


Tempest 


051 


90's Set 


020 


JUNO Pop 1 


052 


Motown 


020 


Highland 


052 


80's Set 


021 


HipHop Set 1 


053 


Nwcomers/Mod 


021 


Sound Alarm 


053 


Angelis Pad 


022 


Rnd Rhythm 


054 


Night Gig 


022 


JUNO Pop 1 


054 


Motown 


023 


Reflector 


055 


Disco Set 


023 


HipHop Set 1 


055 


Nwcomers/Mod 


024 


FiltrHus/Mod 


056 


Seaside 


024 


Rnd Rhythm 


056 


Night Gig 


025 


BrekBts Set 


057 


South Wind 


025 


Reflector 


057 


Disco Set 


026 


Fusion Set 


058 


HipHop Set 2 


026 


FiltrHus/Mod 


058 


Seaside 


027 


1 Note Pop 


059 


Reggae Set 


027 


BrekBts Set 


059 


South Wind 


028 


Piano+Pad 1 


060 


Light Step 


028 


Fusion Set 


060 


HipHop Set 2 


029 


R&B E.Piano 


061 


Phase D 


029 


1 Note Pop 


061 


Reggae Set 


030 


TrncyPad/Mod 


062 


TrioPly Tmpl 


030 


Piano+Pad 1 


062 


Light Step 


031 


AutoSequence 


063 


Seq:Template 


031 


R&B E.Piano 


063 


Phase D 


032 


Jazzy Arps 


064 


GM2 Template 


032 


TrncyPad/Mod 


064 


GM2 Template 




187 




JUNO-G_e.book 188 '^-v 2006^2^130 ^BIH ^lt2a$445j- 




Patch List 



USER (User Group) 



No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


001 


Juno-G Grand 


2 


AC.PIANO 


078 


Passing by 


4 


SYNTH EX 


155 


Hoover Again 


4 


TECHNO SYNTH 


232 


Coffee Bee 


2 


TECHNO SYNTH 


002 


Autotrance 


4 


BEAT&GROOVE 


079 


E-Grand 


4 


AC.PIANO 


156 


Oblivion 


3 


SYNTH EX 


233 


JG Wurly 


1 


EL.PIANO 


003 


Magestic Str 


8 


STRINGS 


080 


Juno-60 Bass 


2 


SYNTH BASS 


157 


sin(EP) 


2 


EL.PIANO 


234 


Rezo Sync 


3 


HARD LEAD 


004 


Rubber Bass 


3 


SYNTH BASS 


081 


Latin Gtr 


1 


AC.GUITAR 


158 


Fretnot 2 


3 


BASS 


235 


SoloTp 


2 


AC.BRASS 


005 


106 String 1 


2 


BRIGHT PAD 


082 


Ju-D Lead 


2 


HARD LEAD 


159 


In Canada 


3 


HARD LEAD 


236 


Press yn 


2 


OTHER SYNTH 


006 


Searing COSM 


2 


DIST.GUITAR 


083 


DramaSect/Sw 


4 


STRINGS 


160 


JG Violin 


1 


STRINGS 


237 


ReverseSweep 


2 


BRIGHT PAD 


007 


Dreaming Box 


4 


BELL 


084 


Simply Fat 


3 


OTHER SYNTH 


161 


Wire Keys 


2 


OTHER SYNTH 


238 


Jucy Saw 


3 


OTHER SYNTH 


008 


Brass & Sax 


5 


AC.BRASS 


085 


Crummy Organ 


2 


ORGAN 


162 


Rochno Org 


4 


ORGAN 


239 


Bosporus 


2 


PLUCKED 


009 


Xadecimal 
Mk2 Stg Phsr 


4 
3 


PULSATING 
EL.PIANO 


086 
087 


Sub Hit 
PeakArpSine 


3 
1 


HIT&STAB 
SOFT LEAD 


163 
164 


Ju-D CombPad 
Beat (C4) 


3 
4 


BRIGHT PAD 

BEAT&GROOVE 


240 


SaturnHolida 


2 


BRIGHT PAD 


010 


241 


OilDrum Bass 


3 


SYNTH BASS 


Oil 


80's Combo 


3 


COMBINATION 


088 


Harpiness 


2 


PLUCKED 


165 


Mini Growl 


2 


SOFT LEAD 


242 


JG Cello 


1 


STRINGS 


012 


Aerial Choir 


4 


VOX 


089 


JG Hollow 


4 


SOFT PAD 


166 


C. McFizzy 


4 


ETHNIC 


243 


JG Strobe 


4 


PULSATING 


013 


Peep Durple 


5 


ORGAN 


090 


Alpha Stack 


3 


TECHNO SYNTH 


167 


Final Run 


6 


TECHNO SYNTH 


244 


FaceOfMars 


3 


SYNTH FX 


014 


Fairy's Song 


4 


SOFT PAD 


091 


Choir Aahs 2 


4 


VOX 


168 


Firefly 


2 


SYNTH EX 


245 


Potted Pixie 


1 


OTHER SYNTH 


015 


Wide SynBrs 


2 


SYNTH BRASS 


092 


LonesomeRoad 


2 


EL.PIANO 


169 


Sine Magic 


3 


PULSATING 


246 


Alto Sax 


1 


SAX 


016 


Juno-60 Str 
Pat is away 


2 

5 


BRIGHT PAD 
PLUCKED 


093 
094 


Clean Gtr 
Alpha Bass 1 


1 
1 


EL.GUITAR 
SYNTH BASS 


170 


FMEP 


2 


EL.PIANO 


247 
248 


Big Mini 
Crystal 


3 
2 


SYNTH BASS 


017 


171 


106 Bass 2 


1 


SYNTH BASS 


SYNTH FX 


018 


Dusty Sndtrk 


4 


COMBINATION 


095 


Vintagolizer 


4 


HARD LEAD 


172 


Amped Jazz 


1 


EL.GUITAR 


249 


Monsoon 


4 


PLUCKED 


019 


Angelis Pad 


4 


SOFT PAD 


096 


Stereo Brass 


4 


AC.BRASS 


173 


Bon Voyage 


3 


HARD LEAD 


250 


Stringship 


4 


BRIGHT PAD 


020 


Groove 007 


4 


BEAT&GROOVE 


097 


Air Pluck 


4 


MALLET 


174 


JG Brass 


7 


AC.BRASS 


251 


Alpha ResoBs 


1 


SYNTH BASS 


021 


Trance Keys 


2 


OTHER SYNTH 


098 


VintageBrite 


2 


BRIGHT PAD 


175 


Sugar Synth 


5 


OTHER SYNTH 


252 


VirtualHuman 


4 


PULSATING 


022 


Wet Nyln Gtr 


4 


AC.GUITAR 


099 


ElectroDisco 


5 


BEAT&GROOVE 


176 


Harmonderca 


2 


HARMONICA 


253 


Howards Lead 


3 


SOFT LEAD 


023 


Curly Wurly 


2 


EL.PIANO 


100 


GR Lead 


2 


SOFT LEAD 


177 


Life-on 


4 


BRIGHT PAD 


254 


DCO Bass 


4 


SYNTH BASS 


024 


Comp'd JBass 


2 


BASS 


101 


TroubadorEns 


4 


ETHNIC 


178 


Magma Bubble 


4 


BEAT&GROOVE 


255 


Sax Sect. 2 


4 


SAX 


025 


Timeless Ld 


2 


HARD LEAD 


102 


JupiterMoves 


2 


SOFT PAD 


179 


JG Jamisen 


2 


PLUCKED 


256 


Philly Hit 


1 


HIT&STAB 


026 


Pipe Org/Mod 


4 


ORGAN 


103 


Alpha Said.. 


1 


TECHNO SYNTH 


180 


Day After... 


3 


SOFT PAD 










027 


Mix Hit 2 


4 


HIT&STAB 


104 


Faked Piano 


4 


SYNTH EX 


181 


Bounsynth 


4 


TECHNO SYNTH 










028 


106 Brass 


1 


SYNTH BRASS 


105 


Denial River 


6 


PULSATING 


182 


Sad ceremony 


8 


VOX 










029 


LostParadise 


5 


PLUCKED 


106 


Amadeus 


8 


KEYBOARDS 


183 


Step In 


3 


PULSATING 










030 


Jazzy Arps 


4 


PULSATING 


107 


Retum2Base! 


1 


BASS 


184 


JD-800 Piano 


1 


AC.PIANO 










031 


Vibrations 


2 


MALLET 


108 


MODified Ld 


2 


HARD LEAD 


185 


JBass /Thumb 


2 


BASS 










032 


Killerbeez 


3 


TECHNO SYNTH 


109 


Good Old Day 


3 


WIND 


186 


D-50 Fat Saw 


2 


HARD LEAD 










033 


Himalaya Ice 


2 


BELL 


110 


Stacc Heaven 


4 


OTHER SYNTH 


187 


Clarence.net 


2 


WIND 










034 


Analog Days 


3 


COMBINATION 


111 


Chapel Organ 


2 


ORGAN 


188 


RAVtune 


2 


OTHER SYNTH 










035 


Try This! 


3 


SYNTH FX 


112 


Ju-D Space 


4 


BRIGHT PAD 


189 


Distord Bee 


1 


ORGAN 










036 


Hot Coffee 


2 


HARD LEAD 


113 


Ju-D Soft Ld 


1 


SOFT LEAD 


190 


In The Pass 


2 


BRIGHT PAD 










037 


Uni-G 


2 


TECHNO SYNTH 


114 


Timpani+Low 


4 


PERCUSSION 


191 


Compusonic 1 


4 


BEAT&GROOVE 










038 


Analog Pad 


3 


SOFT PAD 


115 


Poly Brass 


2 


SYNTH BRASS 


192 


Flat SynBs 


3 


SYNTH BASS 










039 


Punch MG 2 


2 


SYNTH BASS 


116 


Angels Choir 


4 


VOX 


193 


Ambi Shaku 


3 


ETHNIC 










040 


Detune Lead 


4 


HARD LEAD 


117 
118 


Mr. 4ier 
Amped EP 


3 

5 


PULSATING 
EL.PIANO 


194 
195 


Neo SuperBrs 
Electrostars 


4 
4 


SYNTH BRASS 
TECHNO SYNTH 










041 


Straight Str 


4 


SOFT PAD 




042 


Pulstar Ld 


1 


SOFT LEAD 


119 


Alpha Bass 2 


1 


SYNTH BASS 


196 


Retro Sci-Ei 


4 


SYNTH FX 










043 


DelicatePizz 


4 


STRINGS 


120 


Funk Guitar 


2 


EL.GUITAR 


197 


Auto Mouths 


3 


PULSATING 










044 


106 String 2 


1 


BRIGHT PAD 


121 


Squarely 


2 


HARD LEAD 


198 


Spirit Tines 


3 


EL.PIANO 










045 


Over-D6 


2 


KEYBOARDS 


122 


Farewell 


6 


ORCHESTRA 


199 


Sub Sonic 


4 


SYNTH BASS 










046 


Sweet Keys 
Atmospherics 


2 
2 


OTHER SYNTH 
SOFT PAD 


123 
124 


Europe Xpres 
Music Bells 


2 
2 


OTHER SYNTH 
BELL 


200 


Pre Mass Hum 


4 


AC.GUITAR 










047 


201 


Tape Memory 


2 


STRINGS 




048 


Sweet 80s 


4 


BEAT&GROOVE 


125 


Giant Sweep 


2 


BRIGHT PAD 


202 


Atmorave 


4 


OTHER SYNTH 










049 


Waspy Synth 


2 


OTHER SYNTH 


126 


In da Cave 


2 


HIT&STAB 


203 


Smoky Organ 


1 


ORGAN 










050 


Warm Str Pno 


6 


AC.PIANO 


127 


Theramax 


1 


SOFT LEAD 


204 


101 Basic 


1 


SYNTH BASS 










051 


Ending Scene 


4 


ORCHESTRA 


128 


Soft Breeze 


2 


SOFT PAD 


205 


Quiet River 


4 


PLUCKED 










052 


JG Clavi 


2 


KEYBOARDS 


129 


FX World 


2 


PULSATING 


206 


Chariots 


4 


SOFT PAD 










053 


Sitar on C 


6 


PLUCKED 


130 


Imagination 


4 


AC.PIANO 


207 


Techno Pizz 


2 


TECHNO SYNTH 










054 


SH-101 Bs 1 


2 


SYNTH BASS 


131 


MC-404 Bass 


2 


SYNTH BASS 


208 


Angel Breath 


4 


BRIGHT PAD 










055 


PulsArt 


2 


PULSATING 


132 


12string Gtr 


3 


AC.GUITAR 


209 


Saw Dogs 


1 


PULSATING 










056 


Rotary Organ 
Thick Steel 


4 
2 


ORGAN 
AC.GUITAR 


133 
134 


Sqr Sequence 
Solo Sop Sax 


1 
1 


HARD LEAD 
SAX 


210 


Tine EP 


1 


EL.PIANO 










057 


211 


Garage Bs 2 


2 


SYNTH BASS 




058 


Evangelized 


2 


SOFT LEAD 


135 


Ju-D Fifths 


2 


OTHER SYNTH 


212 


Get it LOUD! 


3 


DIST.GUITAR 










059 


Vintage Tine 


1 


EL.PIANO 


136 


Vodkakordion 


3 


ACCORDION 


213 


JC Strat Bdy 


1 


EL.GUITAR 










060 


JX Strings 


1 


SOFT PAD 


137 


Alpha Str 1 


2 


BRIGHT PAD 


214 


Legato Saw 


2 


HARD LEAD 










061 


Nice Disl Gt 


1 


DIST.GUITAR 


138 


Krafty 


3 


BEAT&GROOVE 


215 


Chamber Str 


3 


STRINGS 










062 


Alpha Spit 


1 


SOFT LEAD 


139 


SoloNzPeaker 


1 


SOFT LEAD 


216 


Flip Pad 


3 


OTHER SYNTH 










063 


HimalayaPipe 


3 


FLUTE 


140 


X-cultural 


3 


ETHNIC 


217 


Magic Wave 


2 


BRIGHT PAD 










064 


303 NRG 


2 


HARD LEAD 


141 


SoftSynBrass 


2 


SYNTH BRASS 


218 


Detune Bass 


2 


SYNTH BASS 










065 


PG Chimes 


4 


BRIGHT PAD 


142 


Synvox 


2 


VOX 


219 


Orch & Horns 


5 


ORCHESTRA 










066 


Analog Times 


4 


SOFT PAD 


143 


Space Ocean 


4 


PULSATING 


220 


Teky Drop 


4 


PLUCKED 










067 


Ulli Ac Bass 


2 


BASS 


144 


Wurly Trem 


2 


EL.PIANO 


221 


Heatstroke 


2 


SYNTH EX 










068 


Techno Dream 


3 


TECHNO SYNTH 


145 


106 Bass 1 


2 


SYNTH BASS 


222 


Are U Ready? 


4 


PULSATING 










069 


Pulsatron 


4 


PULSATING 


146 


Lone Prophat 


1 


HARD LEAD 


223 


LEOEP 


4 


EL.PIANO 










070 


Biting Clav 


2 


KEYBOARDS 


147 
148 


Atk Flute 
X-Racer 


2 
2 


FLUTE 
OTHER SYNTH 


224 
225 


Basement 
Digital Edge 


1 
2 


BASS 
HARD LEAD 










071 


TrnsSweepPad 


6 


SOFT PAD 




072 


Nice Oct Gtr 


2 


EL.GUITAR 


149 


FM Wood 


4 


MALLET 


226 


MistOver5ths 


4 


BRIGHT PAD 










073 


D-50 Fantsia 


4 


BELL 


150 


Alpha Str 2 


3 


BRIGHT PAD 


227 


Angel Pipes 


2 


FLUTE 










074 


SH-101 Bs 2 


2 


SYNTH BASS 


151 


Good Old Hit 


4 


HIT&STAB 


228 


Liquid Air 


4 


BRIGHT PAD 










075 


Ju-D Major7 


4 


TECHNO SYNTH 


152 


Naked Lead 


1 


SOFT LEAD 


229 


Storm Bass 


4 


SYNTH BASS 










076 


Ju-D Pulsed 


3 


PULSATING 


153 


Bass Drum 


4 


PERCUSSION 


230 


Far East 


4 


ETHNIC 










077 


Analog Dream 


3 


OTHER SYNTH 


154 


OB Slow Str 


2 


SOFT PAD 


231 


Strobot 


2 


PULSATING 












188 




JUNO-G_e.book 189 '^-v 2006^2^130 ^BIH ^lS2a$445J- 



Patch List 



(^ 



PR-A (Preset A Group) 



No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


001 


Juno-G Grand 


2 


AC.PIANO 


037 


Wurly Trem 


2 


EL.PIANO 


073 


Vibrations 


2 


MALLET 


109 


Wet Nyln Gtr 


4 


AC.GUITAR 


002 


Bright Grand 


2 


AC.PIANO 


038 


Curly Wurly 


2 


EL.PIANO 


074 


JG Marimba 


2 


MALLET 


no 


Nylon Guitar 


2 


AC.GUITAR 


003 


Soft Grand 


2 


AC.PIANO 


039 


Super Wurly 


2 


EL.PIANO 


075 


JG Xylo 


1 


MALLET 


111 


Latin Gtr 


1 


AC.GUITAR 


004 


A'live Piano 


2 


AC.PIANO 


040 


JG Clavi 


2 


KEYBOARDS 


076 


Steel Drums 


1 


MALLET 


112 


Thick Steel 


2 


AC.GUITAR 


005 


SoundOieck 


2 


AC.PIANO 


041 


Cutter Clavi 


2 


KEYBOARDS 


077 


Air Pluck 


4 


MALLET 


113 


Comp Stl Gtr 


2 


AC.GUITAR 


006 


JD-800 Piano 


1 


AC.PIANO 


042 


D6 Clavi 


3 


KEYBOARDS 


078 


Synergy MLT 


2 


MALLET 


114 


Stl Gtr Duo 


2 


AC.GUITAR 


007 


E-Grand 


4 


AC.PIANO 


043 


Over-D6 


2 


KEYBOARDS 


079 


FM Wood 


4 


MALLET 


115 


Wide Ac Gtr 


4 


AC.GUITAR 


008 


Blend Piano 


5 


AC.PIANO 


044 


Phase Clavi 


2 


KEYBOARDS 


080 


Icy Keys 


4 


MALLET 


116 


So good! 


2 


AC.GUITAR 


009 


LA Piano 


3 


AC.PIANO 


045 


BPFaze Clavi 


2 


KEYBOARDS 


081 


Toy Box 


3 


MALLET 


117 


12string Gtr 


3 


AC.GUITAR 


010 


Warm Pad Pno 


4 


AC.PIANO 


046 


Analog Clavi 


1 


KEYBOARDS 


082 


Rotary Organ 


4 


ORGAN 


118 


Pre Mass Hum 


4 


AC.GUITAR 


Oil 


Warm Str Pno 


6 


AC.PIANO 


047 


Biting Clav 


2 


KEYBOARDS 


083 


Zepix Organ 


4 


ORGAN 


119 


Dynojazz Gtr 


1 


EL.GUITAR 


012 


Imagination 


4 


AC.PIANO 


048 


Pulse Clavi 


2 


KEYBOARDS 


084 


Peep Durple 


5 


ORGAN 


120 


WetTC 


1 


EL.GUITAR 


013 


TineEP 


1 


EL.PIANO 


049 


PWIVI Clav 


1 


KEYBOARDS 


085 


R&B Organ 


2 


ORGAN 


121 


Clean Gtr 


1 


EL.GUITAR 


014 


Vintage Tine 


1 


EL.PIANO 


050 


Funky Line 


2 


KEYBOARDS 


086 


X Perc Organ 


3 


ORGAN 


122 


Amped Jazz 


1 


EL.GUITAR 


015 


LonesomeRoad 


2 


EL.PIANO 


051 


Harpsy Clavi 


2 


KEYBOARDS 


087 


Rhythm'n'B 


4 


ORGAN 


123 


Kinda Kurt 


2 


EL.GUITAR 


016 


LEOEP 


4 


EL.PIANO 


052 


JG Harpsi 


4 


KEYBOARDS 


088 


Rochno Org 


4 


ORGAN 


124 


Crimson Gtr 


2 


EL.GUITAR 


017 


70's EP 


5 


EL.PIANO 


053 


CoupleHarpsi 


6 


KEYBOARDS 


089 


LoFi PercOrg 


1 


ORGAN 


125 


Plug n' Gig 


1 


EL.GUITAR 


018 


Stage Tremlo 


2 


EL.PIANO 


054 


Amadous 


8 


KEYBOARDS 


090 


Perky Organ 


1 


ORGAN 


126 


Nice Oct Gtr 


2 


EL.GUITAR 


019 


Stage Phaser 


3 


EL.PIANO 


055 


JG Celesta 


1 


KEYBOARDS 


091 


Euro Organ 


2 


ORGAN 


127 


Strat Gtr 


1 


EL.GUITAR 


020 


Back2the60s 


2 


EL.PIANO 


056 


JG Glocken 


1 


BELL 


092 


FullStop Org 


3 


ORGAN 


128 


JC Strat Bdy 


1 


EL.GUITAR 


021 


Mk2 Stg Phsr 


3 


EL.PIANO 


057 


Music Box 


1 


BELL 


093 


StakDraw Org 


4 


ORGAN 










022 


Amped EP 


5 


EL.PIANO 


058 


Kalimbells 


2 


BELL 


094 


Crummy Organ 


2 


ORGAN 










023 


Backing PhEP 


5 


EL.PIANO 


059 


FM Syn Bell 


4 


BELL 


095 


60's Organ 


2 


ORGAN 










024 


Psycho EP 


4 


EL.PIANO 


060 


FM Heaven 


4 


BELL 


096 


Smoky Organ 


1 


ORGAN 










025 


Crystal EP 


2 


EL.PIANO 


061 


Music Bells 


2 


BELL 


097 


Soap Opera 


1 


ORGAN 










026 


Celestial EP 


4 


EL.PIANO 


062 


MuBox Pad 


4 


BELL 


098 


Distord Bee 


1 


ORGAN 










027 


Celestial EP 


3 


EL.PIANO 


063 


Dreaming Box 


4 


BELL 


099 


Chapel Organ 


2 


ORGAN 










028 


FMEP 


2 


EL.PIANO 


064 


Himalaya Ice 


2 


BELL 


100 


Grand Pipes 


4 


ORGAN 










029 


EM E.Pad 


3 


EL.PIANO 


065 


D-50 Fantsia 


4 


BELL 


101 


Pipe Org/Mod 


4 


ORGAN 










030 


sin{EP) 


2 


EL.PIANO 


066 


JG Bell 1 


4 


BELL 


102 


Masked Opera 


4 


ORGAN 










031 


Pulse EP 


2 


EL.PIANO 


067 


JG Bell 2 


2 


BELL 


103 


Vodkakordion 


3 


ACCORDION 










032 


Ballader 


3 


EL.PIANO 


068 


Candy Bell 


4 


BELL 


104 


Squeeze Me! 


2 


ACCORDION 










033 


Spirit Tines 


3 


EL.PIANO 


069 


JG Chime 


1 


BELL 


105 


Guinguette 


3 


ACCORDION 










034 


Remember 
So story... 


6 


EL.PIANO 
EL.PIANO 


070 


Tubular Bell 


1 


BELL 


106 
107 


Harmonderca 
BluesHrp /Sw 


2 
1 


HARMONICA 
HARMONICA 










035 


071 


Bell Ring 


8 


BELL 




036 


JG Wurly 


1 


EL.PIANO 


072 


JG Vibe 


1 


MALLET 


108 


Green Bullet 


2 


HARMONICA 











PR-B (Preset B Group) 




No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


001 


BluNoteStrat 


1 


EL.GUITAR 


037 


Fretnot 2 


3 


BASS 


073 


Alpha ResoBs 


1 


SYNTH BASS 


109 


JG Cello 


1 


STRINGS 


002 


Funk Guitar 


2 


EL.GUITAR 


038 


RichFretless 


2 


BASS 


074 


Fazee Bass 


4 


SYNTH BASS 


110 


Contrabass 


4 


STRINGS 


003 


Fixx it 


1 


EL.GUITAR 


039 


New Age Frtls 


3 


BASS 


075 


MG+SubOsc Bs 


2 


SYNTH BASS 


111 


Dolce Qrt 


1 


STRINGS 


004 


& Scratchee 


4 


EL.GUITAR 


040 


Alpha Bass 1 


1 


SYNTH BASS 


076 


Hi-Energy Bs 


2 


SYNTH BASS 


112 


Chamber Str 


3 


STRINGS 


005 


Flexa Guitar 


4 


EL.GUITAR 


041 


Alpha Bass 2 


1 


SYNTH BASS 


077 


Storm Bass 


4 


SYNTH BASS 


113 


Magestic Str 


8 


STRINGS 


006 


Dub Tales 


2 


EL.GUITAR 


042 


106 Bass 1 


2 


SYNTH BASS 


078 


Beepin Bass 


2 


SYNTH BASS 


114 


Studio Sect. 


4 


STRINGS 


007 


GK Dubguitar 


4 


EL.GUITAR 


043 


106 Bass 2 


1 


SYNTH BASS 


079 


Nu RnB Bass 


2 


SYNTH BASS 


115 


Stringz 101 


2 


STRINGS 


008 


Mystic Gtr 


2 


EL.GUITAR 


044 


Intrusive Bs 


2 


SYNTH BASS 


080 


Rubber Bass 


3 


SYNTH BASS 


116 


Crossed Bows 


5 


STRINGS 


009 


Trem-o-Vibe 


2 


DIST.GUITAR 


045 


Big Mini 


3 


SYNTH BASS 


081 


Acdg Bass 


2 


SYNTH BASS 


117 


Warm Strings 


5 


STRINGS 


010 


Nice Dist Gt 


1 


DIST.GUITAR 


046 


Muffled MG 


2 


SYNTH BASS 


082 


SQPan 


2 


SYNTH BASS 


118 


JG Strings 


8 


STRINGS 


Oil 


Get it LOUD! 


3 


DIST.GUITAR 


047 


TransistorBs 


3 


SYNTH BASS 


083 


Glide- iator 


1 


SYNTH BASS 


119 


Stacc Str mp 


4 


STRINGS 


012 


Searing COSM 


2 


DIST.GUITAR 


048 


Mini Like! 


2 


SYNTH BASS 


084 


Detune Bass 


2 


SYNTH BASS 


120 


DelicatePizz 


4 


STRINGS 


013 


Plugged!!! 


1 


DIST.GUITAR 


049 


Da Chronic 


2 


SYNTH BASS 


085 


Nu Saw Bass 


3 


SYNTH BASS 


121 


Orch. Pizz 


4 


STRINGS 


014 


Rockin' Dly 


3 


DIST.GUITAR 


050 


SH-101 Bs 1 


2 


SYNTH BASS 


086 


LowFat Bass 


3 


SYNTH BASS 


122 


DramaSect/Sw 


4 


STRINGS 


015 


Punker 


2 


DIST.GUITAR 


051 


SH-101 Bs 2 


2 


SYNTH BASS 


087 


Sub Sonic 


4 


SYNTH BASS 


123 


Clustered!?! 


8 


STRINGS 


016 


Hurting Gtr 


3 


DIST.GUITAR 


052 


Flat SynBs 


3 


SYNTH BASS 


088 


Jungle Bass 


2 


SYNTH BASS 


124 


Gang Strangs 


6 


STRINGS 


017 


Touch Drive 


1 


DIST.GUITAR 


053 


Smooth Bass 


2 


SYNTH BASS 


089 


101 Vibe 


4 


SYNTH BASS 


125 


Magnolia Str 


3 


STRINGS 


018 


JG Chunk 


4 


DIST.GUITAR 


054 


MC-404 Bass 


2 


SYNTH BASS 


090 


101 Basic 


1 


SYNTH BASS 


126 


Tape Memory 


2 


STRINGS 


019 


Power Chord 


2 


DIST.GUITAR 


055 


MC+TB Bass 


2 


SYNTH BASS 


091 


Garage Bs 1 


3 


SYNTH BASS 


127 


Mellow Tron 


3 


STRINGS 


020 


Ulti Ac Bass 


2 


BASS 


056 


Juno-60 Bass 


2 


SYNTH BASS 


092 


Garage Bs 2 


2 


SYNTH BASS 


128 


Wind & Str 1 


7 


ORCHESTRA 


021 


All Round Bs 


2 


BASS 


057 


Poly Bass 


1 


SYNTH BASS 


093 


Gashed Bass 


2 


SYNTH BASS 










022 


Roomy Bass 


2 


BASS 


058 


SH-1 Bass 


2 


SYNTH BASS 


094 


Unison Bass 


2 


SYNTH BASS 










023 


FingerMaster 


2 


BASS 


059 


Nu Bace 


2 


SYNTH BASS 


095 


OilDrum Bass 


3 


SYNTH BASS 










024 


Comp'd JBass 


2 


BASS 


060 


R&B Bass 1 


2 


SYNTH BASS 


096 


Acid SynBs 


2 


SYNTH BASS 










025 


CompressBass 


2 


BASS 


061 


R&B Bass 2 


1 


SYNTH BASS 


097 


TexturedBusy 


3 


SYNTH BASS 










026 


Tubby Mute 


2 


BASS 


062 


R&B Bass 3 


2 


SYNTH BASS 


098 


Vintage Sub 


3 


SYNTH BASS 










027 


Thumb Up! 


1 


BASS 


063 


R&B Bass 4 


1 


SYNTH BASS 


099 


Super-G DX 


3 


SYNTH BASS 










028 


JBass /Thumb 
Slap Bass 


2 


BASS 
BASS 


064 
065 


Kickin' Bass 
Electro Rubb 


2 
2 


SYNTH BASS 
SYNTH BASS 


100 


SuBASSembly 


3 


SYNTH BASS 


- 








029 


101 


DCO Bass 


4 


SYNTH BASS 




030 


Got Pop? 


1 


BASS 


066 


Enorjizor 


2 


SYNTH BASS 


102 


Destroyed Bs 


2 


SYNTH BASS 










031 


Snug Bass 


2 


BASS 


067 


Solid Goa 


1 


SYNTH BASS 


103 


Saturator 


2 


SYNTH BASS 










032 


Chicken Bass 


2 


BASS 


068 


Punch MG 1 


2 


SYNTH BASS 


104 


Loco Voco 


2 


SYNTH BASS 










033 


Retum2Base! 


1 


BASS 


069 


Punch MG 2 


2 


SYNTH BASS 


105 


TBasic 


1 


SYNTH BASS 










034 


A Big Pick 
Basement 


2 
1 


BASS 
BASS 


070 


Foundation 


2 


SYNTH BASS 


106 
107 


Unplug it! 
JG Violin 


1 
1 


SYNTH BASS 
STRINGS 










035 


071 


Reso SynBs 1 


2 


SYNTH BASS 




036 


Fretnot 1 


' 


BASS 


072 


Reso SynBs 2 


2 


SYNTH BASS 


108 


JG Viola 


3 


STRINGS 











189 




JUNO-G_e.book ISO'^-y 2006^2^130 ^BIH ^lS2a$445J- 



Patch List 



PR-C (Preset C Group) 



No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


001 


Wind & Str 2 


5 


ORCHESTRA 


037 


F.Homs Sect 


3 


AC.BRASS 


073 


VangJ arris 


1 


SYNTH BRASS 


109 


Crumble Syn 


2 


HARD LEAD 


002 


Farewell 


6 


ORCHESTRA 


038 


Tpts & Tmbs 


2 


AC.BRASS 


074 


Solo Sop Sax 


1 


SAX 


110 


Clean? 


2 


HARD LEAD 


003 


Orch & Horns 


5 


ORCHESTRA 


039 


TpTb Sect/Sw 


2 


AC.BRASS 


075 


Alto Sax mp 


1 


SAX 


111 


Distortion 


4 


HARD LEAD 


004 


SoftOrchl 
Soft Orch 2 


4 
7 


ORCHESTRA 
ORCHESTRA 


040 


Brass & Sax 


5 


AC.BRASS 


076 
077 


Alto Sax 
Solo AltoSax 


1 
1 


SAX 
SAX 


112 
113 


Squareheads 
303 NRG 


2 
2 


HARD LEAD 


005 


041 


JG Brass 


7 


AC.BRASS 


HARD LEAD 


006 


Ending Scene 


4 


ORCHESTRA 


042 


StackTp Sect 


4 


AC.BRASS 


078 


AltoLead Sax 


1 


SAX 


114 


Hot Coffee 


2 


HARD LEAD 


007 


Sub Hit 


3 


HIT&STAB 


043 


Stereo Brass 


4 


AC.BRASS 


079 


SoloTenorSax 


2 


SAX 


115 


In Canada 


3 


HARD LEAD 


008 


In da Cave 
Orange Skin 


2 
4 


HIT&STAB 
HIT&STAB 


044 
045 


DynamicBrass 
BrassFall/Sw 


8 
2 


AC.BRASS 
AC.BRASS 


080 


Fat TenorSax 


3 


SAX 


116 
117 


DirtyVoltage 
Bon Voyage 


2 
3 


HARD LEAD 


009 


081 


Baritone Sax 


1 


SAX 


HARD LEAD 


010 


Venus 


2 


HIT&STAB 


046 


Solo Tp 


2 


AC.BRASS 


082 


Sax Sect 1 


3 


SAX 


118 


Modulator Ld 


2 


HARD LEAD 


Oil 


Mojo Man 


2 


HIT&STAB 


047 


Horn Chops 


2 


AC.BRASS 


083 


Sax Sect 2 


4 


SAX 


119 


Beambreaker 


2 


HARD LEAD 


012 


Good Old Hit 


4 


HIT&STAB 


048 


Flugel Horn 


1 


AC.BRASS 


084 


Brassy Lead 


2 


HARD LEAD 


120 


Sync Tank 


2 


HARD LEAD 


013 


Mix Hit 1 


4 


HIT&STAB 


049 


Spit Flugel 


3 


AC.BRASS 


085 


Timeless Ld 


2 


HARD LEAD 


121 


Synchro Lead 


2 


HARD LEAD 


014 


Mix Hit 2 


4 


HIT&STAB 


050 


Mute Tp /Mod 


3 


AC.BRASS 


086 


Follow Me 


2 


HARD LEAD 


122 


Stimulation 


4 


HARD LEAD 


015 


Lo-Fi Hit 


4 


HIT&STAB 


051 


Harmon Mute 


1 


AC.BRASS 


087 


Porta SoloLd 


2 


HARD LEAD 


123 


X-Sink Delay 


3 


HARD LEAD 


016 


Cheezy Movie 


4 


HIT&STAB 


052 


SoftTb 


2 


AC.BRASS 


088 


MODified Ld 


2 


HARD LEAD 


124 


Rezo Sync 


3 


HARD LEAD 


017 


Philly Hit 


1 


HIT&STAB 


053 


Solo Bone 


2 


AC.BRASS 


089 


Unleaded 


3 


HARD LEAD 


125 


Digital Edge 


2 


HARD LEAD 


018 


BlastfrmPast 


2 


HIT&STAB 


054 


JG Tuba 


1 


AC.BRASS 


090 


Legato Tkno 


1 


HARD LEAD 


126 


Griggley 


2 


HARD LEAD 


019 


Smear Hit 1 


2 


HIT&STAB 


055 


Grande Tuba 


2 


AC.BRASS 


091 


Hyperjupiter 


3 


HARD LEAD 


127 


SonicVampire 


2 


HARD LEAD 


020 


Smear Hit 2 


2 


HIT&STAB 


056 


Tb Section 


5 


AC.BRASS 


092 


Vintagolizer 


4 


HARD LEAD 


128 


Destroyed Ld 


2 


HARD LEAD 


021 


2ble Action 


2 


HIT&STAB 


057 


Analog Brass 


3 


SYNTH BRASS 


093 


Classic Lead 


4 


HARD LEAD 










022 


Funk Chank 


2 


HIT&STAB 


058 


106 Brass 


1 


SYNTH BRASS 


094 


Squarely 


2 


HARD LEAD 










023 


Disto Stab! 


5 


HIT&STAB 


059 


Neo SuperBrs 


4 


SYNTH BRASS 


095 


Sqr Sequence 


1 


HARD LEAD 










024 


Good Old Day 


3 


WIND 


060 


Brash! 


4 


SYNTH BRASS 


096 


Square Times 


4 


HARD LEAD 










025 


Wind 'n Wood 


3 


WIND 


061 


Bend SynBrs 


4 


SYNTH BRASS 


097 


Tristar 


2 


HARD LEAD 










026 


Clarence.net 


2 


WIND 


062 


Wide SynBrs 


2 


SYNTH BRASS 


098 


Eye see DC 


2 


HARD LEAD 










027 


JGOboe 


1 


WIND 


063 


DetuneSawBrs 


2 


SYNTH BRASS 


099 


Ju-D Lead 


2 


HARD LEAD 










028 


JG Bassoon 


1 


WIND 


064 


PolyFlagship 


2 


SYNTH BRASS 


100 


Legato Saw 


2 


HARD LEAD 










029 


English Horn 


1 


WIND 


065 


Poly Brass 


2 


SYNTH BRASS 


101 


D-50 Fat Saw 


2 


HARD LEAD 










030 


Atk Flute 


2 


FLUTE 


066 


Saw Brass 


4 


SYNTH BRASS 


102 


Gwyo Press 


2 


HARD LEAD 










031 


JG Flute 


2 


FLUTE 


067 


Cheesy Brass 


4 


SYNTH BRASS 


103 


Dual Profs 


2 


HARD LEAD 










032 


Piccolo 


2 


FLUTE 


068 


Dual Saw Brs 


2 


SYNTH BRASS 


104 


Lone Prophat 


1 


HARD LEAD 










033 


Angel Pipes 


2 


FLUTE 


069 


Silky JP 


2 


SYNTH BRASS 


105 


Detune Lead 


4 


HARD LEAD 










034 


Pan Pipes 


1 


FLUTE 


070 


Softs ynBrass 


2 


SYNTH BRASS 


106 


Syn Lead 


2 


HARD LEAD 










035 


Andes Mood 


3 


FLUTE 


071 


Silk Brs Pad 


1 


SYNTH BRASS 


107 


Space Lead 


3 


HARD LEAD 










036 


HimalayaPipe 


3 


FLUTE 


072 


Fat SynBrass 


4 


SYNTH BRASS 


108 


SynLead 0322 


2 


HARD LEAD 











PR-D (Preset D Group) 



No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


001 


Distorted MG 


1 


HARD LEAD 


038 


Uni-G 


2 


TECHNO SYNTH 


075 


No Left Turn 


5 


TECHNO SYNTH 


112 


Euro Teuro 


6 


PULSATING 


002 


C64 Lead 


2 


HARD LEAD 


039 


Power Synth 


4 


TECHNO SYNTH 


076 


Digi-Seq 


2 


TECHNO SYNTH 


113 


HPF Slicer 


3 


PULSATING 


003 


Noized Lead 


3 


HARD LEAD 


040 


Ju-D Trance 


4 


TECHNO SYNTH 


077 


Techno Dream 


3 


TECHNO SYNTH 


114 


Sorry4theDLY 


1 


PULSATING 


004 


Epic Lead 


2 


HARD LEAD 


041 


DelyResoSaws 


2 


TECHNO SYNTH 


078 


Techno Pizz 


2 


TECHNO SYNTH 


115 


Are U Ready? 


4 


PULSATING 


005 


Digital Ld 1 


3 


HARD LEAD 


042 


Moon Synth 


2 


TECHNO SYNTH 


079 


Techno Snips 


2 


TECHNO SYNTH 


116 


Strobot 


2 


PULSATING 


006 


Digital Ld 2 


3 


HARD LEAD 


043 


R-Trance 


7 


TECHNO SYNTH 


080 


Alien Bubble 


1 


TECHNO SYNTH 


117 


H-Pathetique 


1 


PULSATING 


007 


PeakArpSine 


1 


SOFT LEAD 


044 


Killerbeez 


3 


TECHNO SYNTH 


081 


MelodicDrums 


2 


TECHNO SYNTH 


118 


Auto Mouths 


3 


PULSATING 


008 


R&B TriLead 


1 


SOFT LEAD 


045 


Alpha Stack 


3 


TECHNO SYNTH 


082 


Technotribe 


2 


TECHNO SYNTH 


119 


TMT Seq Pad 


4 


PULSATING 


009 


JGSoftLd 


2 


SOFT LEAD 


046 


Technocraft 


4 


TECHNO SYNTH 


083 


Autolicker 


3 


TECHNO SYNTH 


120 


Beat Pad 


3 


PULSATING 


010 


Shy Soloist 


1 


SOFT LEAD 


047 


Bounsynth 


4 


TECHNO SYNTH 


084 


Pulsator 


4 


PULSATING 


121 


Brisk Vortex 


3 


PULSATING 


Oil 


Reso Lead 


3 


SOFT LEAD 


048 


Trancepire 


1 


TECHNO SYNTH 


085 


Motion Bass 


2 


PULSATING 


122 


PanninFormnt 


2 


PULSATING 


012 


Mid Saw Ld 


4 


SOFT LEAD 


049 


Nu Hoover 


4 


TECHNO SYNTH 


086 


Arposphere 


4 


PULSATING 


123 


DarknessSide 


6 


PULSATING 


013 


Modulated Ld 


1 


SOFT LEAD 


050 


Alpha Said.. 


1 


TECHNO SYNTH 


087 


Voco Riff 


4 


PULSATING 


124 


Vocastic 


8 


PULSATING 


014 


Naked Lead 


1 


SOFT LEAD 


051 


Alpha Hoover 


1 


TECHNO SYNTH 


088 


Jazzy Arps 


4 


PULSATING 


125 


SpacePulse 


4 


PULSATING 


015 


Waspy Lead 


1 


SOFT LEAD 


052 


Hoover Again 


4 


TECHNO SYNTH 


089 


Pulsatron 


4 


PULSATING 


126 


Keep Running 


3 


PULSATING 


016 


GR Lead 


2 


SOFT LEAD 


053 


Raven Chord 


4 


TECHNO SYNTH 


090 


Mega Sync 


2 


PULSATING 


127 


StepPitShift 


2 


PULSATING 


017 


Pulstar Ld 


1 


SOFT LEAD 


054 


Ju-D Maior7 


4 


TECHNO SYNTH 


091 


Ju-D Sliced 


3 


PULSATING 


128 


Dancefloor 


4 


PULSATING 


018 


Evangelized 


2 


SOFT LEAD 


055 


Braatz... 


6 


TECHNO SYNTH 


092 


Sine Magic 


3 


PULSATING 










019 


Alpha Spit 


1 


SOFT LEAD 


056 


Morpher 


8 


TECHNO SYNTH 


093 


JG Strobe 


4 


PULSATING 










020 


JP Saw Lead 


2 


SOFT LEAD 


057 


AUinOneRiff 


7 


TECHNO SYNTH 


094 


Strobe X 


5 


PULSATING 










021 


DC Triangle 


2 


SOFT LEAD 


058 


YZ Again 


7 


TECHNO SYNTH 


095 


VirtualHuman 


4 


PULSATING 










022 


Mini Growl 


2 


SOFT LEAD 


059 


Going Mad! 


4 


TECHNO SYNTH 


096 


Xadecimal 


4 


PULSATING 










023 


Theramax 


1 


SOFT LEAD 


060 


Electrostars 


4 


TECHNO SYNTH 


097 


ShapeURMusic 


5 


PULSATING 










024 


Ju-D Soft Ld 


1 


SOFT LEAD 


061 


Periscope 


4 


TECHNO SYNTH 


098 


Denial River 


6 


PULSATING 










025 


Howards Lead 


3 


SOFT LEAD 


062 


DreamlnColor 


3 


TECHNO SYNTH 


099 


Alpha Rave 


5 


PULSATING 










026 


Dawn Of Pan 


4 


SOFT LEAD 


063 


Sweet House 


4 


TECHNO SYNTH 


100 


Synth Force 


4 


PULSATING 










027 


SoloNzPeaker 


1 


SOFT LEAD 


064 


Mad Dentist 


2 


TECHNO SYNTH 


101 


Step In 


3 


PULSATING 










028 


Dig-n-Duke 


2 


SOFT LEAD 


065 


Projector 


1 


TECHNO SYNTH 


102 


Eureggae 


1 


PULSATING 










029 


Square Lead 


2 


SOFT LEAD 


066 


Coffee Bee 


2 


TECHNO SYNTH 


103 


Echo Echo 


8 


PULSATING 










030 


Round SQR 


2 


SOFT LEAD 


067 


MetalVoxBox 


3 


TECHNO SYNTH 


104 


Throbulax 


2 


PULSATING 










031 


Sqr Diamond 


2 


SOFT LEAD 


068 


Teethy Grit 


3 


TECHNO SYNTH 


105 


Rhythmic 5th 


4 


PULSATING 










032 


Clone Zone 


2 


SOFT LEAD 


069 


Flazzynth 


8 


TECHNO SYNTH 


106 


Up For Air 


1 


PULSATING 










033 


Sneaky Leady 


2 


SOFT LEAD 


070 


In-dee-yah 


3 


TECHNO SYNTH 


107 


PulsArt 


2 


PULSATING 










034 


Chubby Lead 


2 


SOFT LEAD 


071 


Bend'nMod Me 


5 


TECHNO SYNTH 


108 


ZipDoggyDoDa 


7 


PULSATING 










035 


Tranceformer 


1 


TECHNO SYNTH 


072 


Final Run 


6 


TECHNO SYNTH 


109 


ThujonGroove 


2 


PULSATING 










036 


Shroomy 
HPF Sweep 


3 


TECHNO SYNTH 
TECHNO SYNTH 


073 
074 


Reso Seq Saw 
DetuneSeqSaw 


1 

2 


TECHNO SYNTH 
TECHNO SYNTH 


110 


Ju-D Pulsed 


3 


PULSATING 










037 


111 


Auto Trance 


2 


PULSATING 






190 




JUNO-G_e.book 191 '^-y 2 00 6^2^130 ^BIH ^lS2a$4 45J- 



Patch List 



(^ 



PR-E (Preset E Group) 



No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


001 


Regenerator 


2 


PULSATING 


037 


Jet Noise 


4 


SYNTH FX 


073 


Tempest 


2 


OTHER SYNTH 


109 


106 String 2 


1 


BRIGHT PAD 


002 


Ionizer 


4 


PULSATING 


038 


Passing by 


4 


SYNTH FX 


074 


Squeepy 


1 


OTHER SYNTH 


110 


Giant Sweep 


2 


BRIGHT PAD 


003 


Newcomers 


4 


PULSATING 


039 


Fantom Noise 


4 


SYNTH FX 


075 


Bustranza 


2 


OTHER SYNTH 


111 


Phat Strings 


4 


BRIGHT PAD 


004 


Tumblerz 


2 


PULSATING 


040 


Low Beat-S 


5 


SYNTH FX 


076 


SuperSaw 


2 


OTHER SYNTH 


112 


Alpha Str 1 


2 


BRIGHT PAD 


005 


FX World 


2 


PULSATING 


041 


CerealKiller 


1 


SYNTH FX 


077 


Saw Stack 


2 


OTHER SYNTH 


113 


Alpha Str 2 


3 


BRIGHT PAD 


006 


Mr. 4ier 


3 


PULSATING 


042 


New Planetz 


4 


SYNTH FX 


078 


Trance Keys 


2 


OTHER SYNTH 


114 


Juno-60 Str 


2 


BRIGHT PAD 


007 


Space Ocean 


4 


PULSATING 


043 


ResoSweep Dn 


1 


SYNTH FX 


079 


TranceSaws 


4 


OTHER SYNTH 


115 


VintageBrite 


2 


BRIGHT PAD 


008 


Hellrazor 


3 


PULSATING 


044 


ResoSweep Up 


1 


SYNTH FX 


080 


JP OctAttack 


2 


OTHER SYNTH 


116 


Neo RS-202 


2 


BRIGHT PAD 


009 


Dirty Beat 


7 


PULSATING 


045 


Zap B3 & C4 


1 


SYNTH FX 


081 


DOC Stack 


2 


OTHER SYNTH 


117 


Electric Pad 


3 


BRIGHT PAD 


010 


Electrons 


1 


PULSATING 


046 


Retro Sci-Fi 


4 


SYNTH FX 


082 


RAVtune 


2 


OTHER SYNTH 


118 


Stringship 


4 


BRIGHT PAD 


Oil 


Protons 


2 


PULSATING 


047 


Space Echo 


4 


SYNTH FX 


083 


Atmorave 


4 


OTHER SYNTH 


119 


NuSoundtrack 


4 


BRIGHT PAD 


012 


Saw Dogs 


1 


PULSATING 


048 


Lazer Points 


2 


SYNTH FX 


084 


High Five 


2 


OTHER SYNTH 


120 


Ju-D CombPad 


3 


BRIGHT PAD 


013 


FlPad 


8 


PULSATING 


049 


PolySweep Nz 


4 


SYNTH FX 


085 


Steamed Sawz 


2 


OTHER SYNTH 


121 


ReverseSweep 


2 


BRIGHT PAD 


014 


Inverse Sqr 


4 


PULSATING 


050 


Bending Logo 


8 


SYNTH FX 


086 


Fragile Saws 


4 


OTHER SYNTH 


122 


OB Rezo Pad 


3 


BRIGHT PAD 


015 


Myxlptylk 


2 


PULSATING 


051 


Trancer 


4 


SYNTH FX 


087 


Short Detune 


2 


OTHER SYNTH 


123 


InfinitePhsr 


6 


BRIGHT PAD 


016 


Robot Sci-Fi 


4 


PULSATING 


052 


Try This! 


3 


SYNTH FX 


088 


Flip Pad 


3 


OTHER SYNTH 


124 


Synthi Ens 


4 


BRIGHT PAD 


017 


Ourobotos 


2 


PULSATING 


053 


Control Room 


4 


SYNTH FX 


089 


Waspy Synth 


2 


OTHER SYNTH 


125 


In The Pass 


2 


BRIGHT PAD 


018 


ARP X Race 


1 


PULSATING 


054 


S&H Voc 


2 


SYNTH FX 


090 


Memory Pluck 


2 


OTHER SYNTH 


126 


Mod Dare 


4 


BRIGHT PAD 


019 


Faked Piano 


4 


SYNTH FX 


055 


WaitnOutside 


2 


SYNTH FX 


091 


Europe Xpres 


2 


OTHER SYNTH 


127 


Voyager 


4 


BRIGHT PAD 


020 


Chaos 2003 


4 


SYNTH FX 


056 


Simply Fat 


3 


OTHER SYNTH 


092 


Wet Atax 


2 


OTHER SYNTH 


128 


Magic Wave 


2 


BRIGHT PAD 


021 


Shangri-La 


5 


SYNTH FX 


057 


G PolySynth 


4 


OTHER SYNTH 


093 


Press yn 


2 


OTHER SYNTH 










022 


12th Planet 


2 


SYNTH FX 


058 


Ju-D Fifths 


2 


OTHER SYNTH 


094 


Jucy Saw 


3 


OTHER SYNTH 










023 


Crystal 


2 


SYNTH FX 


059 


Analog Dream 


3 


OTHER SYNTH 


095 


Cue Tip 


1 


OTHER SYNTH 










024 


Magic Chime 


4 


SYNTH FX 


060 


DCO Bell Pad 


4 


OTHER SYNTH 


096 


Potted Pixie 


1 


OTHER SYNTH 










025 


SoimdStrange 


3 


SYNTH FX 


061 


DigitalDream 


2 


OTHER SYNTH 


097 


TB Sequence 


1 


OTHER SYNTH 










026 


FaceO£Mars 


3 


SYNTH FX 


062 


Stacc Heaven 


4 


OTHER SYNTH 


098 


TB Booster 


2 


OTHER SYNTH 










027 


Scatter 


7 


SYNTH FX 


063 


Sweet Keys 


2 


OTHER SYNTH 


099 


SynOrch /Mod 


6 


OTHER SYNTH 










028 


SolarPleXus 


2 


SYNTH FX 


064 


Sugar Synth 


5 


OTHER SYNTH 


100 


DigimaX 


2 


OTHER SYNTH 










029 


Heatstroke 


2 


SYNTH FX 


065 


Ju-D Fantasy 


3 


OTHER SYNTH 


101 


X-Racer 


2 


OTHER SYNTH 










030 


Oblivion 


3 


SYNTH FX 


066 


Sleeper 


4 


OTHER SYNTH 


102 


Wire Keys 


2 


OTHER SYNTH 










031 


South Pole 


2 


SYNTH FX 


067 


Cosmic Drops 


1 


OTHER SYNTH 


103 


Metalizer 


2 


OTHER SYNTH 










032 


Ambience 


3 


SYNTH FX 


068 


DoubleBubble 


4 


OTHER SYNTH 


104 


Fairy Factor 


6 


OTHER SYNTH 










033 


Neverville 


6 


SYNTH FX 


069 


Big Planet 


2 


OTHER SYNTH 


105 


Orgaenia 


5 


OTHER SYNTH 










034 


Strange Land 


6 


SYNTH FX 


070 


Digitaless 


2 


OTHER SYNTH 


106 


IDaCommonMan 


4 


OTHER SYNTH 










035 


Firefly 


2 


SYNTH FX 


071 


Xtatic 


4 


OTHER SYNTH 


107 


Digi-Vox 


1 


OTHER SYNTH 










036 


Breath Echo 


1 


SYNTH FX 


072 


Houze Clavi 


2 


OTHER SYNTH 


108 


106 String 1 


2 


BRIGHT PAD 











PR-F (Preset F Group) 



No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


No. 


Name 


Voices 


Category 


001 


Liquid Air 


4 


BRIGHT PAD 


038 


Flange Dream 


4 


SOFT PAD 


075 


BeautifulOne 


4 


vox 


112 


Ambidextrous 


2 


SOUND FX 


002 


New Year Day 


4 


BRIGHT PAD 


039 


Organic Pad 


3 


SOFT PAD 


076 


Aah Vox 


2 


vox 


113 


ElectroDisco 


5 


BEAT&GROOVE 


003 


Polar Mom 
PC Chimes 


4 
4 


BRIGHT PAD 
BRIGHT PAD 


040 


Atmospherics 


2 


SOFT PAD 


077 


Synvox 
FMVox 


2 
4 


vox 
vox 


114 
115 


Groove 007 
In Da Groove 


4 
4 


BEAT&GROOVE 


004 


041 


Magnetic 5th 


2 


SOFT PAD 


078 


BEAT&GROOVE 


005 


Distant Sun 


4 


BRIGHT PAD 


042 


Soft OB Pad 


3 


SOFT PAD 


079 


Let's Talk! 


3 


vox 


116 


Sweet 80s 


4 


BEAT&GROOVE 


006 


Ju-D Space 


4 


BRIGHT PAD 


043 


JG Hollow 


4 


SOFT PAD 


080 


Aerial Harp 


2 


PLUCKED 


117 


Autotrance 


4 


BEAT&GROOVE 


007 


MistOverSths 


4 


BRIGHT PAD 


044 


Fairy's Song 


4 


SOFT PAD 


081 


Harpiness 


2 


PLUCKED 


118 


Juno Pop 


4 


BEAT&GROOVE 


008 


Filmscape 


5 


BRIGHT PAD 


045 


Glass Organ 


3 


SOFT PAD 


082 


AndrealsBack 


4 


PLUCKED 


119 


Krafty 


3 


BEAT&GROOVE 


009 


Cosmic Rays 


4 


BRIGHT PAD 


046 


FreezinNight 


5 


SOFT PAD 


083 


LostParadise 


5 


PLUCKED 


120 


Compusonic 1 


4 


BEAT&GROOVE 


010 


Neuro- Drone 


7 


BRIGHT PAD 


047 


Lostscapes 


2 


SOFT PAD 


084 


Ice Palace 


5 


PLUCKED 


121 


Compusonic 2 


4 


BEAT&GROOVE 


Oil 


diGital Pad 


4 


BRIGHT PAD 


048 


Combination 


4 


SOFT PAD 


085 


Nice Kalimba 


1 


PLUCKED 


122 


Beat (C4) 


4 


BEAT&GROOVE 


012 


two. two Pad 


4 


BRIGHT PAD 


049 


Moving Pad 


8 


SOFT PAD 


086 


Quiet River 


4 


PLUCKED 


123 


Naughty Bits 


4 


BEAT&GROOVE 


013 


2.2 Pad 


7 


BRIGHT PAD 


050 


Wind Pad 


4 


SOFT PAD 


087 


Sitar on C 


6 


PLUCKED 


124 


Magma Bubble 


4 


BEAT&GROOVE 


014 


Digi-Swell 


3 


BRIGHT PAD 


051 


Angelis Pad 


4 


SOFT PAD 


088 


Neo Sitar 


1 


PLUCKED 


125 


80's Combo 


3 


COMBINATION 


015 


Angel Breath 


4 


BRIGHT PAD 


052 


JupiterMoves 


2 


SOFT PAD 


089 


JG Sitar 


6 


PLUCKED 


126 


Analog Days 


3 


COMBINATION 


016 


XA:YTEM 


4 


BRIGHT PAD 


053 


Reso Pad 


3 


SOFT PAD 


090 


Electr Sitar 


3 


PLUCKED 


127 


Techno Craft 


3 


COMBINATION 


017 


Life-on 


4 


BRIGHT PAD 


054 


Silk Pad 


3 


SOFT PAD 


091 


SaraswatiRvr 


3 


PLUCKED 


128 


Dusty Sndtrk 


4 


COMBINATION 


018 


SatumHolida 


2 


BRIGHT PAD 


055 


As It Is 


5 


SOFT PAD 


092 


Pat is away 


5 


PLUCKED 










019 


HugeSoundMod 


4 


BRIGHT PAD 


056 


HumanKindnes 


4 


SOFT PAD 


093 


Santur Stack 


4 


PLUCKED 










020 


Strangers 


4 


BRIGHT PAD 


057 


Chariots 


4 


SOFT PAD 


094 


Teky Drop 


4 


PLUCKED 










021 


Analog Pad 


3 


SOFT PAD 


058 


Terra Nostra 


8 


SOFT PAD 


095 


Bosporus 


2 


PLUCKED 










022 


JG Soft Pad 


3 


SOFT PAD 


059 


Cloud #9 


3 


SOFT PAD 


096 


JG Jamisen 


2 


PLUCKED 










023 


Soft Breeze 


2 


SOFT PAD 


060 


Analog Times 


4 


SOFT PAD 


097 


JG Koto 


8 


PLUCKED 










024 


JP Strings 1 


3 


SOFT PAD 


061 


Oceanic Pad 


2 


SOFT PAD 


098 


Monsoon 


4 


PLUCKED 










025 


JP Strings 2 


6 


SOFT PAD 


062 


Jazz Doos 


4 


VOX 


099 


LongDistance 


1 


ETHNIC 










026 


Fading Str 


2 


SOFT PAD 


063 


Choir Aahs 1 


4 


VOX 


100 


Ambi Shaku 


3 


ETHNIC 










027 


Straight Str 


4 


SOFT PAD 


064 


Choir Aahs 2 


4 


VOX 


101 


C. McFizzy 


4 


ETHNIC 










028 


JX Strings 


1 


SOFT PAD 


065 


Angels Choir 


4 


VOX 


102 


Lochscape 


2 


ETHNIC 










029 


Super SynStr 


2 


SOFT PAD 


066 


Choir Ooh 


4 


VOX 


103 


Far East 


4 


ETHNIC 










030 


TrnsSweepPad 


6 


SOFT PAD 


067 


Angelique 


4 


VOX 


104 


X-cultural 


3 


ETHNIC 










031 


JX Warm Pad 


2 


SOFT PAD 


068 


Gospel Oohs 


2 


VOX 


105 


TroubadorEns 


4 


ETHNIC 










032 


Strings Pad 


2 


SOFT PAD 


069 


Aerial Choir 


4 


VOX 


106 


JG Banjo 


2 


FRETTED 










033 


Nu Epic Pad 
Day After... 


2 
3 


SOFT PAD 
SOFT PAD 


070 


Uhmmm 


8 


VOX 


107 


Timpani+Low 
Timpani Roll 


4 

2 


PERCUSSION 
PERCUSSION 










034 


071 


Sad ceremony 


8 


VOX 


108 




035 


Syn Strings 


5 


SOFT PAD 


072 


Syn Opera 


4 


vox 


109 


Bass Drum 


4 


PERCUSSION 










036 


OB Slow Str 


2 


SOFT PAD 


073 


3D Vox 


3 


vox 


110 


Mobile Phone 


1 


SOUND FX 










037 


Phaser Pad 


2 


SOFT PAD 


074 


Morning Star 


3 


vox 


111 


En-co-re 


4 


SOUND FX 












191 




JUNO-G_e.book 192 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



Patch List 



GM (GM2 Group) 

Voice: number of voice 



LSB: Bank Select LSB (CC#32), MSB (CC#0) is all 121 



PC: Program Change Number 



No. 


Name 


Voices 


LSB 


PC 


No. 


Name 


Voices 


LSB 


PC 


No. 


Name 


Voices 


LSB 


PC 


No. 


Name 


Voices 


LSB 


PC 


001 


Piano 1 


4 





1 


077 


Gt. Feedback 


1 


1 


32 


153 


Shakuhachi 


2 





78 


229 


Horse-Gallop 




2 


124 


002 


Piano Iw 


4 


1 


1 


078 


Acoustic Bs. 


2 





33 


154 


Whistle 


1 





79 


230 


Bird 2 




3 


124 


003 


European Pf 


4 


2 


1 


079 


Fingered Bs. 


1 





34 


155 


Ocarina 


2 





80 


231 


Telephone 1 







125 


004 


Piano 2 
Piano 2w 


4 
4 



1 


2 
2 


080 


Finger Slap 


2 


1 


34 


156 
157 


Square Wave 
MG Square 


2 
1 




1 


81 
81 


232 
233 


Telephone 2 
DoorCreaking 




1 
2 


125 


005 


081 


Picked Bass 


2 





35 


125 


006 


Piano 3 


2 





3 


082 


Fretless Bs. 


2 





36 


158 


2600 Sine 


1 


2 


81 


234 


Door 




3 


125 


007 


Piano 3w 


2 


1 


3 


083 


Slap Bass 1 


2 





37 


159 


Saw Wave 


2 





82 


235 


Scratch 




4 


125 


008 


Honky-tonk 
Honky-tonk 2 


2 
2 



1 


4 
4 


084 
085 


Slap Bass 2 
Synth Bass 1 


3 
2 






38 
39 


160 


OB2 Saw 


1 


1 


82 


236 
237 


Wind Chimes 
Helicopter 




5 



125 


009 


161 


Doctor Solo 


2 


2 


82 


126 


010 


E.Piano 1 


3 





5 


086 


SynthBasslOl 


1 


1 


39 


162 


Natural Lead 


2 


3 


82 


238 


Car-Engine 




1 


126 


Oil 


St.Soft EP 


3 


1 


5 


087 


Acid Bass 


1 


2 


39 


163 


SequencedSaw 


2 


4 


82 


239 


Car-Stop 




2 


126 


012 


FM+SA EP 


2 


2 


5 


088 


Clavi Bass 


2 


3 


39 


164 


Syn.Calliope 


2 





83 


240 


Car-Pass 




3 


126 


013 


60's EP 


2 


3 


5 


089 


Hammer 


2 


4 


39 


165 


Chiffer Lead 


2 





84 


241 


Car-Crash 




4 


126 


014 


E.Piano 2 
Detuned EP 2 


2 
2 



1 


6 
6 


090 


Synth Bass 2 


3 





40 


166 
167 


Charang 
Wire Lead 


2 
2 



1 


85 
85 


242 
243 


Siren 
Train 




5 
6 


126 


015 


091 


Beef EM Bass 


2 


1 


40 


126 


016 


St.FM EP 


3 


2 


6 


092 


RubberBass 2 


2 


2 


40 


168 


Solo Vox 


2 





86 


244 


Jetplane 




7 


126 


017 


EP Legend 


2 


3 


6 


093 


Attack Pulse 




3 


40 


169 


5th Saw Wave 


2 





87 


245 


Starship 




8 


126 


018 


EP Phase 
Harpsicliord 


2 
1 


4 



6 

7 


094 
095 


Violin 
Slow Violin 





1 


41 
41 


170 


Bass & Lead 


2 





88 


246 
247 


Burst Noise 
Applause 




9 



126 


019 


171 


Delayed Lead 


2 


1 


88 


127 


020 


Coupled Hps. 


2 


1 


7 


096 


Viola 







42 


172 


Fantasia 


2 





89 


248 


Laughing 




1 


127 


021 


Harpsi.w 


1 


2 


7 


097 


Cello 







43 


173 


Warm Pad 


1 





90 


249 


Screaming 




2 


127 


022 


Harpsi.o 


2 


3 


7 


098 


Contrabass 







44 


174 


Sine Pad 


2 


1 


90 


250 


Punch 




3 


127 


023 


Clav. 


1 





8 


099 


Tremolo Str 


3 





45 


175 


Polysynth 


2 





91 


251 


Heart Beat 




4 


127 


024 


Pulse Clav 
Celesta 


1 
1 


1 



8 
9 


100 


PizzicatoStr 


2 





46 


176 
177 


Space Voice 
Itopia 


4 
3 




1 


92 
92 


252 
253 


Footsteps 
Gun Shot 




5 



127 


025 


101 


Harp 


1 





47 


128 


026 


Glockenspiel 


1 





10 


102 


Yang Qin 


2 


1 


47 


178 


Bowed Glass 


3 





93 


254 


Machine Gun 




1 


128 


027 


Music Box 


1 





11 


103 


Timpani 


3 





48 


179 


Metal Pad 


3 





94 


255 


Lasergun 




2 


128 


028 


Vibraphone 
Vibraphone w 


2 
2 




1 


12 
12 


104 
105 


Orche str 
Orchestra 


2 
4 



1 


49 
49 


180 


Halo Pad 


3 





95 


256 


Explosion 


2 


3 


128 


029 


181 


Sweep Pad 


2 





96 




030 


Marimba 


1 





13 


106 


60s Strings 


4 


2 


49 


182 


Ice Rain 


2 





97 












031 


Marimba w 


1 


1 


13 


107 


Slow Strings 


2 





50 


183 


Soundtrack 


2 





98 












032 


Xylophone 


1 





14 


108 


Syn.Stringsl 


3 





51 


184 


Crystal 


2 





99 












033 


Tubular-bell 


1 





15 


109 


Syn.Strings3 


3 


1 


51 


185 


Syn Mallet 


1 


1 


99 












034 


Church BeU 


1 


1 


15 


110 


Syn.Strings2 


3 





52 


186 


Atmosphere 


2 





100 












035 


Carillon 


1 


2 


15 


111 


Choir Aahs 


2 





53 


187 


Brightness 


3 





101 












036 


Santur 


1 





16 


112 


Chorus Aahs 


2 


1 


53 


188 


Goblin 


2 





102 












037 


Organ 1 


2 





17 


113 


Voice Oohs 


3 





54 


189 


Echo Drops 


2 





103 












038 


Trem. Organ 


2 


1 


17 


114 


Humming 


2 


1 


54 


190 


Echo BeU 


3 


1 


103 












039 


60's Organ 1 


1 


2 


17 


115 


SynVox 


3 





55 


191 


Echo Pan 


2 


2 


103 












040 


70's E.Organ 


2 


3 


17 


116 


Analog Voice 


1 


1 


55 


192 


Star Theme 


2 





104 












041 


Organ 2 


2 





18 


117 


OrchestraHit 


2 





56 


193 


Sitar 


1 





105 












042 


Chorus Or.2 


2 


1 


18 


118 


Bass Hit 


2 


1 


56 


194 


Sitar 2 


2 


1 


105 












043 


Perc. Organ 


2 


2 


18 


119 


6th Hit 


2 


2 


56 


195 


Banjo 


1 





106 












044 


Organ 3 


3 





19 


120 


Euro Hit 


2 


3 


56 


196 


Shamisen 


2 





107 












045 


Church Org.l 


1 





20 


121 


Trumpet 







57 


197 


Koto 


2 





108 












046 


Church Org.2 


2 


1 


20 


122 


Dark Trumpet 




1 


57 


198 


Taisho Koto 


2 


1 


108 












047 


Church Org.3 


2 


2 


20 


123 


Trombone 







58 


199 


Kalimba 


1 





109 












048 


Reed Organ 
Puff Organ 


2 
1 



1 


21 
21 


124 
125 


Trombone 2 
Bright Tb 




1 

2 


58 
58 


200 


Bagpipe 


3 





110 












049 


201 


Fiddle 


2 





111 




050 


Accordion Fr 


1 





22 


126 


Tuba 







59 


202 


Shanai 


1 





112 












051 


Accordion It 


2 


1 


22 


127 


MutedTrumpet 







60 


203 


Tinkle Bell 


3 





113 












052 


Harmonica 


1 





23 


128 


MuteTrumpet2 




1 


60 


204 


Agogo 


1 





114 












053 


Bandoneon 


2 





24 


129 


French Horns 


2 





61 


205 


Steel Drums 


1 





115 












054 


Nylon-str.Gt 


1 





25 


130 


Fr.Horn 2 


1 


1 


61 


206 


Woodblock 


1 





116 












055 


Ukulele 


2 


1 


25 


131 


Brass 1 


4 





62 


207 


Castanets 


1 


1 


116 












056 


Nylon Gt.o 


2 


2 


25 


132 


Brass 2 


4 


1 


62 


208 


Taiko 


3 





117 












057 


Nylon Gt.2 


2 


3 


25 


133 


Synth Brassl 


3 





63 


209 


Concert BD 


4 


1 


117 












058 


Steel-str.Gl 


1 





26 


134 


Pro Brass 


3 


1 


63 


210 


Melo. Tom 1 


1 





118 












059 


12-str.Gt 


2 


1 


26 


135 


Oct SynBrass 


3 


2 


63 


211 


Melo. Tom 2 


1 


1 


118 












060 


Mandolin 


2 


2 


26 


136 


Jump Brass 


3 


3 


63 


212 


Synth Drum 


2 





119 












061 


Steel + Body 


2 


3 


26 


137 


Synth Brass2 


3 





64 


213 


808 Tom 


2 


1 


119 












062 


Jazz Gt. 


1 





27 


138 


SynBrass sfz 


2 


1 


64 


214 


Elec Perc 


1 


1 


119 












063 


Pedal Steel 


1 


1 


27 


139 


Velo Brass 1 


2 


2 


64 


215 


Reverse Cym. 


1 





120 












064 


Clean Gt. 


1 





28 


140 


Soprano Sax 


1 





65 


216 


Gt.FretNoise 


1 





121 












065 


Chorus Gt. 


2 


1 


28 


141 


Alto Sax 


1 





66 


217 


Gt.Cut Noise 


1 


1 


121 












066 


Mid Tone GTR 


1 


2 


28 


142 


Tenor Sax 


2 





67 


218 


String Slap 


1 


2 


121 












067 


Muted Gt. 


1 





29 


143 


Baritone Sax 


2 





68 


219 


Breath Noise 


1 





122 












068 


Funk Pop 
Funk Gl.2 


1 

2 


1 

2 


29 
29 


144 
145 


Oboe 
English Horn 


2 
1 






69 

70 


220 


Fl.Key Click 


1 


1 


122 












069 


221 


Seashore 


2 





123 




070 


Jazz Man 


1 


3 


29 


146 


Bassoon 


1 





71 


222 


Rain 


2 


1 


123 












071 


Overdrive Gt 


2 





30 


147 


Clarinet 


1 





72 


223 


Thunder 


1 


2 


123 












072 


Guitar Pinch 


2 


1 


30 


148 


Piccolo 


1 





73 


224 


Wind 


2 


3 


123 












073 


DistortionGt 


2 





31 


149 


Flute 


1 





74 


225 


Stream 


2 


4 


123 












074 


Feedback Gt. 
Dist Rtm GTR 


2 
2 


1 

2 


31 
31 


150 


Recorder 


1 





75 


226 
227 


Bubble 
Bird 


2 
2 


5 



123 
124 












075 


151 


Pan Flute 


1 





76 




076 


Gt.Harmonics 


1 





32 


152 


Bottle Blow 


2 





n 


228 


Dog 


1 


1 


124 














192 




JUNO-G_e.book 193 '^-y 2006^2^130 ^BIH ^lt2a$445j- 




Rhythm Set List 



PRST (Preset Group) 


USER 


(User Group) 


GM 


(GM2 Group) 


No. 


Name 


No. 


Name 


No. 


Name 


001 


StandardKitl 


001 


StandardKitl 


001 


GM2 STANDARD 


002 


StandardKit2 


002 


StandardKit2 


002 


GM2 ROOM 


003 


StandardKit3 


003 


StandardKit3 


003 


GM2 POWER 


004 


Rock Kit 1 


004 


Rock Kit 1 


004 


GM2 ELECTRIC 


005 


Rock Kit 2 


005 


Rock Kit 2 


005 


GM2 ANALOG 


006 


Brush Jz Kit 


006 


Brush Jz Kit 


006 


GM2 JAZZ 


007 


Orch Kit 


007 


Orch Kit 


007 


GM2 BRUSH 


008 


909 808 Kit 


008 


909 808 Kit 


008 


GM2 ORCHESTRA 


009 


Limiter Kit 


009 


Limiter Kit 


009 


GM2 SFX 


010 


HipHop Kit 1 


010 


HipHop Kit 1 






Oil 


HipHop Kit 2 


Oil 


HipHop Kit 2 






012 


HipHop&Latin 


012 


HipHop&Latin 






013 


Machine&Hip 


013 


Machine&Hip 






014 


R&B Kit 


014 


R&B Kit 






015 


HiFi R&B Kit 


015 


HiFi R&B Kit 






016 


Machine Kitl 


016 


Machine Kitl 






017 


4 Kit MIX 


017 


4 Kit MIX 






018 


Kit-Euro:POP 


018 


Kit-Euro:POP 






019 


House Kit 


019 


House Kit 






020 


Nu Technica 


020 


Nu Technica 






021 


Machine Kit2 


021 


Machine Kit2 






022 


ArtificalKit 


022 


ArtificalKit 






023 


Noise Kit 


023 


Noise Kit 






024 


Kick Menu 


024 


Kick Menu 






025 


Snare Menu 1 


025 


Snare Menu 1 






026 


Snare Menu 2 


026 


Snare Menu 2 






027 


HiHat Menu 


027 


Percussion 






028 


Rim&Tom Menu 


028 


Scrh&Voi&Wld 






029 


Clp&Cym&Hit 


029 


JG Break Kit 






030 


FX/SFX Menu 


030 


PassionDrums 






031 


Percussion 


031 


Arpeggiate!? 






032 


Scrh&Voi&Wld 


032 


De Facto Kit 






033 


JG Break Kit 










034 


PassionDrums 










035 


Arpeggiate!? 










036 


De Facto Kit 












193 




JUNO-G_e.book 194'^-y 2006^2^130 ^BIH ^lS2a$445J- 



Rhythm Set List 



C3 



C4 



C5 



C6 



C7 



Prst: 
User: 
Note No. 


001 
001 
StandardKitI 

MaxLow Kicks 
Rk CmpKick 
Gospel Clap 
Boys Kick 
Snr Roll 
HipHop Kick2 
Reg.PHH mf 
Reg. Kick 


002 
002 
StandardKit2 

Dance Kick 
Dry Kick 1 
Snr Roll 
Power Kick 
Amb.Snr 2 
Power Kick 
Reg.PHH 
Reg. Kick 


003 
003 
StandardKit3 

HipHop Kick2 
Frenzy Kick 
Low Down Snr 
TR707 Kick 
Frenzy Snr 1 
TR606DstKick 
Reg.PHH 
Low Kick 1 


004 
004 
Rocl< Kit 1 

R&B Kick 
Rk CmpKick 
Snr Roll 
Bright Kick 
Snr Roll Lp 
SH32 Kick 
Reg.PHH 
Reg. Kick 


005 
005 
Rocl< Kit 2 

MaxLow Kick2 
MaxLow Kickl 
Pop Snr Rim 
Power Kick 
Med Snare 
Bright Kick 
Rock CHH 2 
Rock Kick 


006 
006 
Brush Jz Kit 


28 


TR909 Kick 1 


^!|BI 


TR909 Kick 
Jz Brsh Slap 


^l^im 


Old Kick 
Soft Jz Roll 


HE! 


R&B Kick 
Reg.PHH 


3b 


Jazz Kick 


'^ 


Reg. Kick 
Reg. Stick 
Reg. Snr 2 
Reg.SnrGst 
Reg. Snr 1 
Reg. F.Tom 
Reg.CHH 1 
Reg. L.Tom 
Reg.CHH 2 
Reg. M.Tom 
Reg.OHH 
Reg. M.Tom 


Reg. Kick 
Wild Stick 
Amb.Snr 1 
Reg.SnrGst 
Amb.Snr 2 
Reg. F.Tom 
Reg.CHH 1 
Reg. L.Tom 
Reg.CHH 2 
Reg. M.Tom 
Reg.OHH 
Reg.M.TomFlm 


Old Kick 
Lo-Bit Stk 4 
Reg. Snr 1 
Amb Clap 
Med Snare 
Jazz Lo Tom 
Reg.CHH 1 
Jazz Lo Tom 
Reg.CHH 2 
Jazz Mid Tom 
Reg.OHH 
Jazz Mid Tom 


Reg. Kick 
Reg. Stick 
Reg. Snr 2 
Reg.SnrGst 
Reg. Snr 1 
Reg. F.Tom 
Reg.CHH 1 
Reg. L.Tom 
Reg.CHH 2 
Reg. M.Tom 
Reg.OHH 
Reg.M.TomFlm 


Rk CmpKick 
Rock Stick 
Maple Snr 
Sft Snr Gst 
Rock Snr 
Sharp L.Tome 
Rock CHH 1 
Sharp L.TomS 
Rock PHH 
Sharp L.Tom4 
Rock OHH 
Sharp H.TomS 


Jazz Kick 
Reg.Stick 


^ 


Jazz Rim 
Jz Brsh Swsh 


40 


Jazz Snr 


lljia 


Reg. F.Tom 
Reg.CHH 1 


!!|gM 


Reg. L.Tom 
Reg.CHH 2 


HEa 


Reg. M.Tom 
Reg.OHH 


4/ 


Reg. M.Tom 


^?lia 


Reg. H.Tom 
Crasii Cym 1 
Reg. H.Tom 
Rock Ride 
Ctiina Cymbal 
Ride Edge 
Tamborine 
Crasii Cym 
Cowbell Low 
Crash Cym 2 
Cowbell Hi 
Ride Bell 


Reg. H.Tom 
Crash Cym 1 
Reg.H.TomFlm 
Rock Ride 
China Cymbal 
Splash Cym 
Tamborine 
Rock Crash 1 
Cowbell Hi 
Crash Cym 1 
Cowbell Low 
Rock Ride 


Jazz Hi Tom 
Crash Cyml 
Jazz Hi Tom 
Rock Rd Edge 
China Cymbal 
Rock Rd Cup 
Tamborine 
Splash Cym 
Cowbell 
Rock Crash 2 
CR78 Guiro 
Jazz Ride 


Reg. H.Tom 
Crash Cym 1 
Reg.H.TomFlm 
Rock Ride 
China Cymbal 
Splash Cym 
Tamborine 
Rock Crash 1 
Cowbell Hi 
Crash Cym 1 
Cowbell Low 
Rock Ride 


Sharp H.Tom2 
Crash Cym 1 
Sharp H.TomI 
Ride Cymbal 
China Cymbal 
Ride Bell 
Tamborine 3 
Rock Crash 2 
Cowbell Mute 
Splash Cym 
Cowbell 
Rock Rd Cup 


Reg. H.Tom 
Jazz Crash 


> 


Reg. H.Tom 
Jazz Ride 


b'A 


China Cymbal 


^!jBI 


Ride Edge 
Tamborine 


!!|isM 


Crash Cym 
Cowbell Low 


!Lmsm 


Crash Cym 
Cowbell Hi 


by 


Ride Bell 


S 


Conga Hi Mt 
Conga Lo Mt 
Conga Lo 
Conga Hi Op 
Conga Lo Op 
Timbale Hi 
Timbale Low 
Agogo Bell H 
Agogo Bell L 
Cabasa Up 
Maracas 
Whistle Shrt 


Conga Hi Mt 
Conga Lo Mt 
Conga Hi Sip 
Conga Hi Op 
Conga Lo Op 
Timbale Hi 
Timbale Low 
Mild Agogo H 
Mild Agogo L 
Cabasa Up 
Maracas 
Whistle Shrt 


Bongo Hi 
Bongo Lo 
Conga Hi Mt 
Conga Hi 
Conga Lo 
Timbale Hi 
Timbale Low 
Cowbell Hi 
Cowbell Low 
Cabasa 
Shaker 
Urban CHH 


Conga Hi Mt 
Conga Lo Mt 
Conga Hi Sip 
Conga Hi Op 
Conga Lo Op 
Timbale Hi 
Timbale Low 
Agogo Bell H 
Agogo Bell L 
Cabasa Up 
Maracas 
Whistle Shrt 


Conga Hi Mt 
Conga Lo Mt 
Conga Sip Op 
Conga Hi Op 
Conga Lo Op 
Timbale Hi 
Timbale Low 
Agogo Bell H 
Agogo Bell L 
Cabasa Up 
Maracas 
Whistle Shrt 


Conga Hi Mt 
Conga Lo Mt 
Conga Lo Sip 
Conga Hi Op 
Conga Lo Op 


65 __ 


Timbale Hi 
Timbale Low 


71^ 


Agogo Bell H 
Agogo Bell L 
Cabasa Up 
Maracas 
Jazz Kick 


^%l 


Whistle Long 
Guiro Short 
Guiro Long 
Claves 

Wood Block H 
Wood Block L 
Cuica Mute 
Cuica Open 
Triangle Mt 
Triangle Op 
Cabasa Cut 
Castanet 


Whistle Long 
Guiro Short 
Guiro Long 
Claves 

Wood Block H 
Wood Block L 
Cuica Mute 
Cuica Open 
Triangle Mt 
Triangle Op 
Cabasa Cut 
DigiSpectrum 


Scratch 5 
Syn Low Atk2 
MG Zap 3 
Syn Swt Atkl 
Syn Swt Atk4 
Bongo Hi Sip 
Vox Hihat 2 
Vox Hihat 3 
Triangle 1 
Triangle 2 
Cajon 
Cajon 3 


Whistle Long 
Guiro Short 
Guiro Long 
Claves 

Wood Block H 
Wood Block L 
Cuica Mute 
Cuica Open 
Triangle Mt 
Triangle Op 
Cabasa Cut 
DigiSpectrum 


Whistle Long 
Guiro Short 
Guiro Long 
Claves 

Wood Block H 
Wood Block L 
Cuica Mute 
Cuica Open 
Triangle Mt 
Triangle Op 
Cabasa Cut 
Wind Chime 


Jazz Kick 
Reg.Stick 


^ 


Jazz Rim 
Sft Snr Gst 


/b 


Jazz Snr 


!^J^ 


Reg. F.Tom 
Reg.CHH 1 


> 


Reg. L.Tom 
Reg.CHH 2 
Reg. M.Tom 
Reg.OHH 


83 


Reg.M.TomFlm 


88' 


Bongo Hi Mt 
Bongo Hi Sip 
Bongo Lo Sip 
Bongo Hi Op 
Bongo Lo Op 
Cajon 1 
Cajon 2 
Cajon 3 
Udo 

Udu Pot Hi 
Udu Pot Sip 
TablaBayam 1 


Wind Chime 
Wood Block 
Cajon 2 
ConcertBD 
R&B Kick 
Dry Kick 2 
Old Kick 
Jazz Doos 
Agogo Noise 
Rock OHH 
JD Anklungs 
Rock OHH 


Wind Chime 
SprgDrm Hit 
Crotale 
R8 Click 
Metro Bell 
DR202 Beep 
Reverse Cym 
Xylo Seq. 
Vinyl Noise 
Mobile Phone 
Group Snap 
Laser 


Wind Chime 
Gtr Cut 1 
Gtr Cut 2 
Gtr Cut 3 
Gtr Cut 4 
Rock PHH 
Rock CHH 2 
TablaBayam 1 
Rock CHH 1 
TablaBayam 2 
Rock OHH 
TablaBayam 5 


Dst Gtr Riff 
Gtr Trill 
Gtr Cut 1 
Gtr Cut 2 
Gtr Cut 3 
Gtr Cut 4 
Dist Mute 
Dist Chord 
DistGtr Nz 1 
DistGtr Nz 2 
DistGtr Nz 3 
JD Switch 


Reg. H.Tom p 
Jazz Cymbal 
Reg.H.TomFlm 
Jazz Ride 
China Cymbal 


89 __ 


Cajon 1 
Cajon 2 
Cajon 3 
Udo 


HE!I 


Udu Pot Hi 
Udu Pot Sip 


yb 


TablaBayam 1 


96 


TablaBayam 2 
TablaBayam 3 
TablaBayam 4 
TablaBayam 5 
TablaBayam 6 
Wind Chime 
Tibet Cymbal 
Slight Bell 


Udo 
Cajon 1 
Udu Pot Hi 
Gospel Clap 
Bright Clap 
Rock Rd Cup 
Cowbell 
Crash Cym 2 


Siren 

AnalogKick 3 
TR909 Kick 1 
Reg. Kick 
TR909Snr4 
TR808 Snr 2 
Artful Snr 
Cross Snr 


Cajon 3 
Cajon 2 
Cajon 1 
Gospel Clap 
Rock Crash 2 
Rock Rd Cup 
Club FinSnap 
TR9a9 Snr 6 


Cajon 3 
Cajon 2 
Cajon 1 
Real Clap 
Gospel Clap 
Tibet Cymbal 
Tamborine 1 
Tamborine 2 


TablaBayam 2 
TablaBayam 3 


100 


TablaBayam 4 
TablaBayam 5 
TablaBayam 6 


101 

[■Ilia 


Wind Chime 
Tibet Cymbal 


103 


Slight Bell 




194 




JUNO-G_e.book 195 '^-y 2006^2^130 ^BIH ^1»2a$445j- 



Rhythm Set List 



C3 



C4 



C5 



C6 



C7 



Prst: 
User: 
Note No. 


007 
007 
Orcti Kit 

Timpani Roll 
ConcertBD 
Shaker 2 
JngI pkt Snr 
Reverse Gym 
Snr Roll Lp 
Jazz Ride 
Timpani Roll 


008 
008 
909 808 Kit 

TR909 Kick 2 
TR909 Kick 4 
Urbn Sn Roll 
TR909 Kick 5 
TR909Snr3 
TR909 Kick 3 
TR909 PHH 2 
TR909 Kick 6 


009 
009 
Limiter Kit 

Skool Kick 
HipHop Kickl 
Dry Stick 1 
Low Kick 3 
Dry Stick 4 
Boys Kick 
Swallow PHH 
Rough Kick 3 


010 
010 
HipHop Kit 1 

PlasticKick2 
Low Kick 2 
Snr Roll Lp 
AnalogKick 3 
GoodOld Snr5 
Dist Kick 
Bang GHH 
TR707 Kick 


Oil 
Oil 
HipHop Kit 2 

HipHop Kickl 
HipHop Kick2 
Grit Snr 4 
FB Kick 
Boys Snr 2 
Low Kick 2 
Lo-Bit PHH 
Skool Kick 


012 

012 
HipHop&Latin 


28 


Syn Low Atkl 


^!|BI 


Rk CmpKick 

Grit Snr 1 


^l^im 


HipHop Kick2 
Jz Brsh Swsh 


HE! 


Pin Kick 
Lo-Bit GHH 1 


3b 


Back Kick 


'^ 


ConcertBD 

Hard Stick 

Amb.Snr2 

Gospel Clap 

Snr Roll 

Timpani 

Timpani 

Timpani 

Timpani 

Timpani 

Timpani 

Tjmpani 

Timpani 

Timpani 

Timpani 

Timpani 

Timpani 

Timpani 

Tamborine 3 

Concert Gym 

Cowbell Mute 

Crash Gym 1 

Ride Cymbal 

Crash Gym 1 


TR909 Kick 1 
TR909 Rim 
TR909 Snr 1 
TR909 Clap 1 
TR909 Snr 2 
TR909 Tom L 
TR909 CHH 1 
TR909 Tom L 
TR909 PHH 1 
TR909 Tom M 
TR909 OHH 2 
TR909 Tom M 
tR909 Tom H 
TR909 Crash 
TR909 Tom H 
TR909 Ride 
TR909 Crash 
TR909 Ride 
CR78 Tamb 
TR909 Crash 
JD Sm Metal 
TR909 Ride 
Syn Swt Atk3 
TRB08 Kick 


R&B Kick 
Lo-Bit Stk 4 
Grit Snr 2 
Dist Clap 
Lo-Bit Snr 3 
Reg. F.Tom 
Lo-Bit GHH 2 
Reg. F.Tom 
Lo-Bit GHH 4 
Reg. L.Tom 
Lo-Bit OHH 2 
Reg.L.TomFlm 


Skool Kick 
Lo-Bit Stk 4 
Ballad Snr 
Old Clap 
Lo-Bit Snr 2 
TR909 Tom L 
Urban GHH 
Deep Tom L 
Swallow PHH 
TR909 Tom M 
Lo-Bit OHH 2 
Deep Tom M 


Low Kick 1 
Swag Rim 
Back Snr 
Planet Clap 
R&B Snare 1 
TRB08 Tom L 
Bang CHH 
TRB08 Tom L 
TRB08 GHH 1 
TRB08 Tom M 
Reg.OHH ff 
TRB08 Tom M 


Back Kick 
R&B Rim 4 


^ 


Pocket Snr 
Old Clap 


40 


Grit Snr 1 


lljia 


GR7B Guiro 
LowDwn CHH 


!!|gM 


7th Hit 
Swallow PHH 


HEa 


DistGtr Nz 1 
Reg.OHH 


4/ 


Pick Kick 


^?lia 


Reg. H.Tom 
Crash Gym 1 
Reg.H.TomFlm 
Lo-Bit OHH 1 
TR606 Gym 
Jazz Ride 
Tamborine 1 
TR606 OHH 
Vibraslap 
Neck Kick 
Hip PHH 
TR808 Kick 


TR909 Tom H 
Crash Gym 1 
Deep Tom H 
Rock Crash 1 
Rock Rd Edge 
China Cymbal 
Snap 
Udo 

Op Pandeiro 
Mt Pandeiro 
Guiro Long 
Guiro Short2 


TRB08 Tom H 
TR909 Crash 
TRB08 Tom H 
Jazz Ride 
Crash Gym 1 
Ride Cymbal 
Lo-Bit Snr 
Lo-Bit PHH 
HipHop OHH 
TRB08 PHH 
Euro Hit 
Low Kick 3 


Skool Kick 
Regular Rim 


> 


Keen Snr 2 
Hip Clap 


b'A 


Boys Snr 1 


^!jBI 


Funk Clap 
Bang GHH 


!!|isM 


Real Clap 
Street PHH 


!Lmsm 


Gospel Clap 
Bang OHH 


by 


Boys Kick 


S 


Bongo Hi Op 
Bongo Lo Op 
Conga Hi Mt 
Conga Hi Op 
Conga Lo Op 
Timbale Hi 
Timbale Low 
Agogo Bell H 
Agogo Bell L 
Cabasa Up 
Maracas 
Whistle Shrt 


TRB08 Kick 
TRB08 Rim 
TRB08 Snr 2 
TRB08 Clap 2 
TRB08 Snr 4 
TRB08 Tom L 
TRB08 CHH 1 
TRB08 Tom L 
TRB08 CHH 2 
TRB08 Tom M 
TRB08 OHH 1 
TRB08 Tom M 


Neck Kick 
Neck Rim 
Neck Snr 
R8 Clap 
Boys Snr 1 
TR808 Tom 
Shaky GHH 
TR808 Tom 
Shaky GHH 
TR606 Tom L 
Lo-Bit OHH 2 
TR606 Tom L 


Guiro Shorti 
Shaker 2 
Shaker 1 
Bone Shake 
Vibraslap 
Vox Kick 1 
Vox Snare 1 
VoxKickSweep 
Vox Snare 2 
Vox Hihat 2 
Vox Hihat 3 
Vox Hihat 1 


HipHop Kickl 
R&B Rim 2 
JngI pkt Snr 
Glaptail 
Dirty Snr 6 
Scratch 1 
HipHop CHH 1 
Scratch 1 
Urban CHH 
Scratch 4 
Neck OHH 
Scratch 5 


Low Kick 1 
Lo-Bit Stk 1 
GoodOld Snri 
LoBit SnrFlm 
Dirty Snr 6 


65 __ 


Grit Snr 2 
Lo-Bit GHH 1 


71^ 


Dirty Snr 8 
Lo-Bit GHH 1 
Dirty Snr 2 
Lo-Bit OHH 3 
Lo-Bit Snr 2 


^%l 


Whistle Long 
Guiro Short 
Guiro Long 
Claves 

Wood Block H 
Wood Block L 
Cuica Mute 
Cuica Open 
Triangle Mt 
Triangle Op 
Cabasa Cut 
Finger Snap 


TRB08 Tom H 
TR606 Gym 
TRB08 Tom H 
TR606 Gym 
TR606 OHH 
TR606 OHH 
CR78 Tamb 
GR78 OHH 
Cowbell Mute 
CR78 OHH 
Syn Swt Atk5 
TRB08 OHH 2 


TR606 Tom H 
Crash Gym 2 
TR606 Tom H 
Jazz Ride 
Splash Gym 
Rock Rd Edge 
Tamborine 3 
Guiro Long 
Gospel Clap 
Tibet Cymbal 
Wind Chime 
VoxKickSweep 


Vox Cymbal 
Slight Bell 
Tibet Cymbal 
Wind Chime 
Scratch 2 
Scratch 1 
Scratch 10 
Scratch 9 
OrangeHit 2 
LoFi Min Hit 
Thin Beef 
Dist Hit 


Syn Mt! Atkl 
Crash Gym 1 
Syn Mt! Atk2 
TR909 Ride 
DistGtr Nz 1 
Rough Kick 3 
Reg.SnrI 
Funk Clap 
Real Clap 
Happy Clap 
Gospel Clap 
SBF Hrd Ld 1 


Cajon 3 
TablaBayam 6 


^ 


Cajon 1 
Shaker 2 


/b 


Cajon 2 


!^J^ 


Timbale Hi 
Conga Lo Mt 


> 


Timbale Hi 
Conga Lo Op 
Timbale Low 
Conga Sip Op 


83 


Timbale Low 


"^m 


Wind Chime 
Slight Bell 
Vibraslap 
Crotale 
Applause 
Tubular Bell 
Tubular Bell 
Tubular Bell 
Tubular Bell 
Tubular Bell 
Tubular Bell 
Tubular Bell 


808 Maracas 
TRB08 Claves 
Triangle Mt 
Triangle Op 
Narrow Hit 2 
Easy Gtr 
MG Zap 
Scratch 1 
MG Zap 1 
TR606 Snr 2 
Synth Saw 
Digi Breath 


Vox Kick 2 
Vox Kick 1 
Vox Snare 1 
Pa! 

Vox Snare 2 
Chiki! 

Vox Hihat 2 
Vox Hihat 1 
Vox Hihat 2 
Vox Cymbal 
Vox Hihat 3 
Heartbeat 


Narrow Hit 2 
MG Attack 
MG Zap 9 
Pa! 

R8 Shaker 1 
Cabasa Down 
Cabasa Gut 
MaxLow Kickl 
MaxLow Kick2 
Lo-Bit Snr 1 
LowDwn CHH 
Wild Stick 


MG Zap 4 
Scratch 9 
Crotale 
HipHop OHH 
OrangeHit 3 
DistGtr Nz 3 
Drive Hit 
JD ScrapeGut 
Office Phone 
Bird Song 
Polishing Nz 
Dentist Nz 


Cowbell Low 
Triangle Mt 


> 


Cowbell Hi 
Triangle Op 


88 


Claves 


89 __ 


Castanet 
Club Clap 


gl^KM 


Guiro 2 
Cabasa Down 


HE!I 


Crash Gym 1 
TR707 Ride 


yb 


TR606 Cym 


96 


Tubular Bell 
Tubular Bell 
Tubular Bell 
Tubular Bell 
Tubular Bell 
Tubular Bell 
Church Bell 
Church Bell 


Polishing Nz 
TablaBayam 7 
TablaBayam 6 
Cajon 1 
Filtered Hit 
Door Creak 
Vint. Phone 
AnalogKick 


Scratch 2 
Scratch 5 
Scratch 1 
Scratch 4 
Scratch 6 
Mobile Phone 
Wah Gtr Riff 
Wah Gtr Riff 


MG500 Beep 1 
MG500 Beep 2 
Gospel Clap 
TR606 Gym 
China Cymbal 
Rock Crash 2 
CR78 OHH 
Concert Gym 


Vinyl Noise 
Lo-Bit CHH 2 
Dirty Snr 7 
Lo-Bit CHH 2 
Dirty Snr 9 
Lo-Bit Snr 1 
Neck OHH 
Lo-Bit Snr 2 


GR7B0HH 
Agogo Bell H 


Hia 


Agogo Bell L 
Wood Block H 


100 


Wood Block L 


101 

[■Ilia 


Tamborine 2 
Whistle 


103 


Conga Thumb 




195 




JUNO-G_e.book 196 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



Rhythm Set List 



C3 



C4 



C5 



C6 



C7 



Prst: 
User: 
Note No. 


013 
013 
IVIacliine&Hip 

TR909 Kick 2 
TR909 Kick 4 
Chemical Snr 
AnalogKick 6 
TR808 Snr 1 
70's Kick 
TR808 PHH 
SH32 Kick 


014 
014 
R&B Kit 

70's Kick 
Skool Kick 
Urbn Sn Roll 
HipHop Klck2 
Slap Snr 2 
Old Kick 
HipHop CHH 2 
Filtered Hit 


015 
015 
HiFi R&B Kit 

MaxLow Klck2 
FB Kick 
Rough Kickl 
MaxLow Kickl 
Rough Klck3 
Rk CmpKick 
Swallow Kick 
Low Kick 1 


016 
016 
IVIacliine Kiti 

TR909 Kick 2 
TR909 Kick 4 
Light Snr 
Back Kick 
DR660 Snr 
Pick Kick 
TR808 PHH 
AnalogKick 6 


017 
017 
4 Kit IVIIX 

FB Kick 
Pick Kick 
Tiny Snare 
TR606DstKick 
TR808 Snr 7 
Hippie Kick 
TR606 PHH 2 
SH32 Kick 


018 
018 
Kit-Euro:POP 


28 


TR707 Kick 


^!|BI 


AnalogKick 1 
Dirty Snr 6 


^l^im 


FB Kick 
Artful Snr 


HE! 


PlasticKlck2 
Shaky CHH 


3b 


Swallow Kick 


'^ 


Low Kick 2 
TR808 Rim 
Lite Snare 
Short Clap 
CR78 Snare 
CR78 Tamb 
Lite CHH 
CR78 Tamb 
Lite OHH 
CR78 Beat 
Lite OHH 
CR78 Beat 


Vinyl Kick 
Dry Stick 4 
Dirty Snr 3 
Frenzy Snr 1 
Boys Snr 2 
VoxKlckSwepL 
Club CHH 1 
Reg. F.Tom 
Neck CHH 
VoxKlckSwepM 
Lo-BIt OHH 2 
Reg.M.Tom 


Boys Kick 
Hard Stick 
GoodOld Snr3 
GoodOld Snr4 
GoodOld Snr2 
Lo-BIt Snr 1 
Shaky CHH 
Slap Snr 3 
Club CHH 2 
Keen Snr 1 
Reg.OHH 
Keen Snr 1 


Pick Kick 
TR808 Rim 
JngI pkt Snr 
Funk Clap 
JngI pkt Snr 
MG Attack 
TR808 CHH 1 
MG Attack 
TR808 PHH 
MG Blip 
TR808 OHH 1 
MG Blip 


TR707 Kick 
R&B Rim 4 
Dirty Snr 6 
TR808 Clap 2 
Keen Snr 1 
TablaBayam 7 
Lo-BIt CHH 3 
TablaBayam 7 
TR606 PHH 1 
TR909 DstTom 
TR606 OHH 
Skool Kick 


TR909 Kick 6 
R&B Rim 4 


^ 


TR909 Snr 3 
TR909 Clap 1 


40 


TR909 Snr 4 


lljia 


Sharp L.Tom2 
TR909 CHH 1 


!!|gM 


Sharp L.TomI 
Urban CHH 


HEa 


Sharp M.Tom 
TR909 OHH 2 


4/ 


Sharp M.Tom 


^?lia 


CR78 Guiro 
TR606 Cym 
CR78 Guiro 
Lo-BIt OHH 1 
TR606 Cym 
Lo-BIt OHH 1 
CR78 Tamb 
TR606 Cym 
JD Sm Metal 
Lo-BIt OHH 1 
Syn Swt Atk3 
Low Kick 3 


VoxKlckSwepH 
Rock Crash 1 
Reg. H.Tom 
Splash Cym 
Rock Rd Edge 
Concert Cym 
Cheap Clap 
Snap 

Low Down Snr 
Wood Block 
Shaku Noise 
Syn Hrd Atkl 


BmbCmp Snr 
TR606 Cym 
GoodOld Snr6 
TR606 Cym 
White Noise 
SBF Cym Lp 
CR78 Tamb 
SBF Bell Lp 
JD Sm Metal 
TR606 Cym 
Syn Swt Atk3 
TR909 Kick 4 


Beam HIQ 
TR606 Cym 
Beam HIQ 
Lo-BIt OHH 1 
TR606 Cym 
Lo-BIt OHH 1 
CR78 Tamb 
TR606 Cym 
JD Sm Metal 
Lo-BIt OHH 1 
Syn Swt Atk3 
AnalogKick 6 


Low Kick 1 
R&B Rim 4 
TR909 Snr 3 
R8 Clap 
Boys Snr 1 
Bongo Hi Mt 
Reg.OHH 
Bongo Hi Mt 
TR606 PHH 1 
Bongo Lo Op 
Reg.OHH ff 
TR909 Kick 3 


Sharp H.Tom 
TR909 Crash 


> 


Sharp H.Tom 
TR909 Ride 


b'A 


China Cymbal 


^!jBI 


TR707 Ride 
Tamborine 3 


!!|isM 


Crash Cym 1 
Cowbell 


!Lmsm 


Rock Crash 2 
VIbraslap 


by 


TR606 Cym 


!^ 


Low Kick 2 
R&B Rim 2 
Keen Snr 2 
TR808 Clap 2 
Back Snr 
TR606 Tom L 
HipHop CHH 2 
TR6Q6 Tom L 
TR808 PHH 
TR606 Tom M 
TR808 OHH 2 
TR606 Tom M 


Digl Loop 2 
Maracas 
Cabasa Up 
Cabasa Down 
Cabasa Cut 
Tamborine 1 
Tamborine 2 
Tamborine 1 
Triangle Mt 
Triangle Op 
Xylo Seq. 
7th Hit 


TR909 Kick 4 
TR808 Rim 
TR808 Snr 2 
TR808 Clap 2 
TR808Snr4 
TR808 Tom 4 
TR808 CHH 1 
TR808 Tom 3 
TR808 CHH 2 
TR808 Tom 2 
TR808 OHH 1 
TR808 Tom 1 


Back Kick 
R8 Comp Rim 
Pocket Snr 
TR909 Clap 2 
Boys Snr 3 
TR606 Tom L 
Neck CHH 
TR606 Tom 
Lo-BIt CHH 1 
TR606 Tom L 
Reg.OHH 
TR606 Tom M 


Click Kick 
Swag Rim 
Cross Snr 
Snap 

R&B Snare 1 
Vox Snare 1 
Reg. CHH 2 
Vox Snare 2 
Hip PHH 
Triangle 1 
Reg.OHH 
AnalogKick 5 


Bongo Lo 
Bongo Hi 


HE. 


Conga Hi Mt 
Conga Hi 


b4' 


Conga Lo 


65 __ 


Conga Efx 
Vox Hlhat 2 


g!|MSM 


Vox Hlhat 3 
CR78 Beat 


71^ 


Cabasa Cut 
Shaker 1 
Street PHH 


'-^W 


TR606 Tom H 
Lo-BIt OHH 3 
TR606 Tom H 
Lo-BIt OHH 1 
TR909 Crash 
Lite OHH 
CR78 Tamb 
TR909 Crash 
JD Sm Metal 
Lite OHH 
Syn Swt Atkl 
TR808 OHH 2 


Mild Hit 
Vinyl Noise 
Cajon 1 
Cajon 2 
Cajon 3 
Conga Hi Mt 
Conga Lo Mt 
Conga Hi Sip 
Conga Lo Sip 
Conga Hi Op 
Conga Lo Op 
Conga Sip Op 


Scratch 3 
Scratch 4 
Scratch 5 
Scratch 6 
Short Clap 
Hand Clap 
R8 Clap 
Cabasa Cut 
R8 Shaker 2 
Tamborine 2 
Shaker 1 
Bone Shake 


TR606 Tom H 
TR909 Crash 
TR606 Tom H 
Lite OHH 
TR909 Crash 
Lite OHH 
CR78 Tamb 
TR909 Crash 
JD Sm Metal 
Lite OHH 
Syn Swt Atkl 
TR808 OHH 2 


TR808 Kick 
Scratch 5 
Grit Snr 3 
Happy Clap 
Grit Snr 3 
Snap 

CR78 CHH 
Snap 

CR78 OHH 
TablaBayam 3 
CR78 OHH 
TablaBayam 3 


Scratch 7 
Syn Low Atk2 


^ 


MG Zap 7 
Syn Swt Atkl 


/b 


Syn Swt Atk4 


!^J^ 


Conga Thumb 
Triangle 1 


> 


Triangle 2 
Drive Hit 
Tao Hit 
Filtered Hit 


83 


Euro Hit 


■^ 


808 Maracas 
TR808 Claves 
Triangle Mt 
Triangle Op 
OrangeHIt 1 
Punch 
MG Zap 1 
Scratch 1 
MG Zap 1 
TR606 Snr 2 
Synth Saw 
Digi Breath 


Conga Efx 
Conga Thumb 
Vox Cymbal 
Chiki! 
Castanet 
CR78 Beat 
CR78 OHH 
CR78 CHH 
Lite OHH 
CR78 Tamb 
JD Vox Noise 
CR78 Guiro 


Tibet Cymbal 
Crotale 
Slight Bell 
Wind Chime 
Triangle 1 
Mild CanWave 
JDStrikePole 
JD Plunk 
Syn Swt Atk2 
GtrStroke Nz 
River 
Bubble 


808 Maracas 
TR808 Claves 
Thangle Mt 
Thangle Op 
Narrow Hit 2 
OrangeHIt 1 
MG Zap 4 
Scratch 1 
MG Zap 1 
TR606 Snr 2 
Synth Saw 
Digi Breath 


Udu Pot Hi 
TR606 Cym 
Udu Pot Hi 
Lo-BIt OHH 1 
Crash Cym 1 
TR707 Ride 
Maracas 
TR707 Ride 
Scratch 6 
TR606 Cym 
SBF Nz Lp 
SBF Cym Lp 


Wind Chime 
Timpani Roll 


88' 


Crotale 
R8 Click 
Metro Bell 


89 __ 


MC500 Beep 1 
MC500 Beep 2 


gl^KM 


Atmosphere 
Polishing Nz 


HE!I 


Car Slip 
Group Snap 


yb 


Laser 


96 


Polishing Nz 
VIbraslap 
Door Creak 
Filtered Hit 
TR909 Ride 
EP Release 
Syn Low Atkl 
AnalogKick 6 


Metro Click 
Metro Bell 
Wind Chime 
Slight Bell 
Crash Cym 1 
TR909 Crash 
CR78 OHH 
Lite OHH 


Train Pass 
Dentist Nz 
Org Leakage 
Agogo Noise 
SBF Vox Lp 
SynVox Noise 
R8 Click 
Syn Swt Atkl 


Polishing Nz 
TablaBayam 7 
TablaBayam 6 
Cajon 1 
Filtered Hit 
Door Creak 
VInt.Phone 
AnalogKick 6 


Agogo Noise 
TablaBayam 7 
TablaBayam 6 
Cajon 1 
Filtered Hit 
Laugh 
JD Triangle 
AnalogKick 6 


ConcertBD Lp 
AnalogKick 3 
Old Kick 
Reg. Kick 


100 


TR909Snr4 


101 

[■Ilia 


TR808 Snr 2 
Artful Snr 


103 


Cross Snr 




196 




JUNO-G_e.book 197 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



(^ 



Rhythm Set List 



Prst: 
User: 
Note No 
28 



019 
019 
House Kit 



C3 




C4 




C5 




C6 




C7 






TR909 Kick 3 
SH32 Kick 
Urbn Sn Roll 
TR909 Kick 2 
TR909 Snr 6 
TR909 Kick 5 
TR909 PHH 2 
TR909 Kick 4 



020 
020 
Nu Technica 

SH32 Kick 
JDEMLSth 
AnalogKick 6 
Low Kick 2 
PlasticKick3 
Low Kick 1 
TR707 Kick 
PlasticKick3 



021 
021 
Machine Kit2 

AnalogKick 5 
AnalogKick 6 
Analog Snr 1 
AnalogKick 1 
TR808Snr4 
FB Kick 
TR808 PHH 
. AnaloflKi.ck 6 



SH32 Kick 
TR909 Snr 5 
TR909 Snr 2 
Flange Snr 
Disc Clap 
Dance CHH 
TR606 DstCHH 
TR909 PHH 2 
TR606 PHH 2 
TR909 OHH 1 
Lite OHH 
..Rp.pk.Rd Cup 



AnalogKick 6 
Swag Rim 
TR909 Snr 1 
TR707 Clap 
Frenzy Snr 1 
Deep Tom L 
TR606 CHH 1 
Deep Tom L 
TR606 PHH 1 
Deep Tom M 
TR909 OHH 2 
.Deep Xpm M 



TR909 Tom H 
TR909 Crash 
TR909 Tom H 
TR909 Ride 
TR909 Crash 
TR909 Ride 
CR78 Tamb 
MG Zap 4 
JD Sm Metal 
MG Zap 5 
Syn Swt Atk3 

. AnajpgKjckg 

f R909 Kick 2 
TR909 Rim 
TR909 Snr 1 
TR909 Clap 1 
TR909 Snr 2 
TR909 D.TomL 
TR9Q9CHH 1 
TR909 D.TomL 
TR808 CHH 2 
TR9Q9 D.TomM 
TR909 OHH 1 
TR909 D.TomM 



Syn Hrd Atk4 
MG Zap 7 
MG Zap 9 
MG Zap 8 
MGZapIO 
HipHop CHH 2 
Syn Swt Atk3 
Street PHH 
Syn Swt Atk6 
HipHop OHH 
TR909 OHH 2 
TR909 R.Crsh 



Deep Tom H 
Lite OHH 
Deep Tom H 
TR808 OHH 1 
TR606 Cym 
TR909 Ride 
CR78 Tamb 
TR606 Cym 
JD Sm Metal 
TR909 Ride 
Syn Swt Atk3 
..AnalogKick 1... 



TR909 D.TomH 
TR909 Crash 
TR909 D.TomH 
TR909 Ride 
TR909 Crash 
TR909 Ride 
Tamborlne 2 
MG Zap 2 
Cowbell Low 
MG Zap 6 
Cowbell Hi 
MG Zap 7 



TR909 Crash 
Rock Crash 1 
MG Zap 2 
MG Zap 9 
Smear Hit 2 
Low Square 
JD Wood Crak 
Piano Atk Nz 
JD Wood Crak 
DR202 Beep 
JD Wood Crak 
Saw Sync B 



DR202 Beep 
OrangeHit 1 
E.Gtr Harm 
Filtered Hit 
Euro Hit 
Jazz Tom L 
TR909 D.TomL 
Jazz Tom M 
TR909 D.TomM 
Jazz Tom H 
TR909 D.TomH 
AnalogKick 3 



AnalogKick 4 
Urbn Sn Roll 
Analog Snr 2 
Dist Clap 
Analog Snr 3 
R8 Shaker 1 
TR909 CHH 2 
R8 Shaker 1 
TR909 PHH 2 
SBF Bell Lpl 
TR909 OHH 2 
SBF Bell Lp2 



SBF Bell Lp3 
TR909 Crash 
SBF Bell Lp4 
TR909 Ride 
TR909 Crash 
TR909 Ride 
CR78 Tamb 
MG Zap 2 
JD Sm Metal 
MG Zap 6 
Syn Swt Atkl 
MG Zap 7 



Conga Hi Mt 
Conga Lo Mt 
Conga Lo Sip 
Conga Hi Op 
Conga Lo Op 
Timbale Hi 
Timbale Low 
Agogo Bell H 
Agogo Bell L 
Cabasa Down 
Maracas 
Guiro Short 



AnalogKick 5 
Happy Clap 
TR808 Snr 7 
TR808 Snr 3 
TR909Snr6 
TR909 CHH 2 
TR606 DstCHH 
Dance CHH 
TR606 PHH 2 
TR909 OHH 2 
TR606 OHH 
CR78 OHH 



808 Maracas 
TR808 Claves 
Triangle Mt 
Triangle Op 
Euro Hit 
Scratch 4 
Easy Gtr 
Crotale 
MG Zap 4 
Urbn Sn Roll 
Calc.Saw 
White Noise 



Guiro Long 
Claves 

Wood Block L 
Wood Block H 
Triangle Mt 
Triangle Op 
Castanet 
Whistle 



lOeSubOscHD 
TR909 Snr 6 
MG Blip 
JD EML 5th 
TR707 Clap 
Dist Clap 
MG Zap 5 
MG Zap 7 



Polishing Nz 
TablaBayam 7 
TablaBayam 6 
Cajon 1 
Filtered Hit 
Laugh 

Office Phone 
AnalogKick 6 



022 023 024 

022 023 024 

ArtificaiKit Noise Kit Kick iVIenu 

TR909 Kick 2 TR909 Kick 2 

AnalogKick 2 TR909 Kick 4 

TR808 Snr 5 Urbn Sn Roll 

TR909 Kick 3 TR909 Kick 5 

Boys Snr 3 SBF Nz Lp 

FB Kick TR909 Kick 1 

TR606 Cym Syn Swt Atk7 

AnalogKick 3 SBF Vox Kick Reg. Kick p 

fVFTrigger SBFVoxKick Reg^Kickf 

TR909 Rim Laser Reg. Kick ff 

TR909 Snr 1 SBF Nz Lp Reg. Kick 

Claptail Train Pass Rock Kick p 

TR909 Snr 3 SBF Nz Lp Rock Kick mf 

TR909 Tom L2 Syn Swt AtkL Rock Kick 

TR909 CHH 1 Syn Swt Atk7 Jazz Kick p 

TR909 Tom LI Syn Swt AtkL Jazz Kick mf 

TR909 PHH 1 Syn Mtl Atk2 Jazz Kick f 

TR909 Tom M2 Syn Swt AtkM Jazz Kick 

TR909 OHH 2 SBF Nz Lp Dry Kick 1 

TRgggTpm.MI .Syn Svyt AtkM Tl9ht..Ki.P.k..1 

fR909 Tom H2 Syn Swt AtkH fight Kick 2 

TR9a9 Crash DIgi Loop 1 Old Kick 

TR909 Tom HI Syn Swt AtkH Jz Dry Kick 

TR909 Ride Calc.Saw Bright Kick 

White Noise Crotale Dry Kick 2 

CR78 Beat Laser Dry Kick 3 

Tamborlne 3 MG Zap 1 1 Power Kick 

Atmosphere Laser R&B Kick 

Cowbell Mute MG Zap 4 Rk CmpKick 

Digl Loop 2 DIgi Loop 1 MaxLow Kickl 

Cowbell MG Zap 6 MaxLow Kick2 

...Re.V.erse.Cy.m .Syn. Low AtkL MaxLow.KickS. 

AnalogKick 5 Syn Low AtkH Dist Kick 

Metal Vox W1 MG Attack FB Kick 

Metal Vox W2 Syn Hrd Atk4 Rough KIckl 

Metal Vox W3 Train Pass Rough Klck2 

White Noisel Syn Mtl Atkl Rough Kicks 

White Noise2 Syn Swt AtkL Click Kick 

TR606 Cym Syn Swt Atk7 Pick Kick 

MG Blip Syn Swt AtkL Back Kick 

MG Blip Rev. Syn Mtl Atk2 Vinyl Kick 

Polishing Nz Syn Swt AtkM Low Kick 1 

Ice Crash SBF Nz Lp Boys Kick 

Metal Vox L2 .Syn Svyt AtkM Hippie Kick 

thin Beef Syn Swt AtkH Frenzy Kick 

7th Hit DIgi Loop 1 PlasticKlckl 

Alpha Rave Syn Swt AtkH Swallow Kick 

DistTB Sqr Calc.Saw Neck Kick 

Finger Snap Crotale 70's Kick 

Conga Sip Op Laser Skool Kick 

Conga Lo Op MG Zap 1 1 Dance Kick 

Conga Hi Op Laser HipHop Kickl 

Triangle Mt MG Zap 4 HipHop Kick2 

Triangle Op Crotale Pin Kick 

Cabasa Cut MG Zap 6 Low Kick 2 

R8 Shaker 1 Syn Low Atk2 Low Kick 3 

AnalogKick i 808 Maracas AnalogKick i 

PlasticKick2 TR808 Claves PlasticKlck2 

PlasticKick3 Triangle Mt PlasticKlckS 

TR909 Kick 1 Triangle Op TR909 Kick 1 

AnalogKick 4 Udo TR909 Kick 2 

AnalogKick 6 Conga Thumb AnalogKick 2 

TR909Snr2 Easy Gtr A TR909Kick3 

TR909Snr4 DIgi Loop 1 AnalogKick 3 

TR909Snr5 MG Zap 4 AnalogKick 4 

TR909Snr6 Urbn Sn Roll AnalogKick 5 

TR808 Snr 1 Calc.Saw AnalogKick 6 

TR808 Snr 2 White Noise TR606DstKick 

TRSdS'CHH'l" PoTishingNz TR808Kick 

TR808OHH1 TablaBayam 7 TR909Kick4 

TR909 CHH 2 Scream TR909 Kick 5 

TR909 OHH 2 Cajon 1 SH32 Kick 

Lite CHH Filtered Hit TR707 Kick 

Lite OHH Laugh TR909 Kick 6 

TR606 Cym ConcertBD Lp Roll Kick 

China Cymbal Timpani Lp — 




197 




_e.book 198 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



Rhythm Set List 



C3 



C4 



C5 



C6 



C7 



Prst: 
User: 
Note No. 


025 
025 
Snare Menu 1 

Reg.SnrI p 
Reg.SnrI mf 
Reg.SnrI f 
Reg.SnrI ff 
Reg.SnrI 
Reg.Snr2 p 
Reg.Snr2 f 

.Reg,Snr2.ff 

Reg.Snr2 
Reg.Snr Flm 
Amb.SnrI p 
Amb.Snn f 
Amb.SnrI 
Amb.Snr2 p 
Amb.Snr2f 
Piccolo Snr 
Maple Snr 
Natural Snri 
Natural Snr2 
Dry Snr p 


026 

026 

Snare Menu 2 

.Gnt.Snrl 

Grit Snr 2 
Grit Snr 3 
Grit Snr 4 
LoBit SnrFlm 
Lo-Bit Snr 1 
Lo-Bit Snr 2 
Lo-Bit Snr 3 
BmbCmp Snr 
MrchCmp Snr 
Frenzy Snr 1 
Frenzy Snr 2 
Slap Snr 1 


027 

HiHat Menu 

Reg.CHH 1 p 
Reg.CHH 1 mf 
Reg.CHH 1 f 
Reg.CHH 1 ff 
Reg.CHH 1 


028 

Rim&Tom Menu 

Reg. Stick 


029 

CIp&Cym&Hit 

Hand Clap 


030 

FX/SFX Menu 


28 




^!|BI 


::::: 


^l^im 


— 


HE! 


— 


3b 


MG Zap 1 


'^ 


Reg.CHH 2 mf 
Reg.CHH 2 f 
Reg.CHH 2 ff 
Reg.CHH 2 
RockCHHI mf 
RockCHHI f 
RockCHHI 
Rock CHH2 mf 
RockCHH2f 
RockCHH2 
RockPHH 
Lo-Bit CHH 1 


Soft Stick 
Hard Stick 
Wild Stick 
Rock Stick 
Lo-Bit Stk 1 
Lo-Bit Stk 2 
Lo-Bit Stk 3 
Lo-Bit Stk 4 
Dry Stick 1 
Dry Stick 2 
Dry Stick 3 
Click Snr p 


Club Clap 
Short Clap 
Real Clap 
Bright Clap 
R8 Clap 
Gospel Clap 
Amb Clap 
Hip Clap 
Funk Clap 
Group Clap 
Claptail 
Planet Clap 


MG Zap 2 
MG Zap 3 


^ 


MG Zap 4 
MG Zap 5 


40 


MG Zap 6 


lljia 


MG Zap 7 
MG Zap 8 


> 


MG Zap 9 
MGZap 10 
MG Zap 1 1 
MG Blip 


4/ 


Beam HiQ 


^?lia 


Dry Snr f 
Ballad Snr 
Ligfit Snr p 
Ligfit Snr f 
Ligfit Snr ff 
Light SnrRim 
Rock Snr p 
Rock Snr mf 
Rock Snr f 
Rock Snr 
Rock Rim p 
Rock Rim mf 


Keen Snr 1 
Reggae Snr 
DR660 Snr 
Pop Snr p 
Pop Snr f 
Pop Snr Rim 
Pop Snr 
Med Snare 
JngI pkt Snr 
Pocket Snr 
Flange Snr 
Slap Snr 2 


Lo-Bit CHH 2 
Lo-Bit CHH 3 
Lo-Bit CHH 4 
Lo-Bit CHH 5 
Modern CHH 
HipHop CHH 1 
Urban CHH 
Bang CHH 
LowDwn CHH 
Disc CHH 
Club CHH 1 
HipHop CHH 2 


Click Snrf 
Click Snrff 
Dry Stick 4 
Dry Stick 5 
R8 Comp Rim 
R&B Rim 1 
R&B Rim 2 
R&B Rim 3 
Neck Rim 
Swag Rim 
Step Rim 
R&B Rim 4 


Royal Clap 
Happy Clap 
TR808 Clap 1 
Disc Clap 
Dist Clap 
Old Clap 
TR909 Clap 1 
TR909 Clap 2 
TR808 Clap 2 
TR707 Clap 
Cheap Clap 
Crash Cyml p 


MG Attack 
Syn Low Atkl 


> 


Syn Low Atk2 
Syn Hrd Atkl 


b2 


Syn Hrd Atk2 


^!jBI 


Syn Hrd Atk3 
Syn Hrd Atk4 


!!|isM 


Syn Mtl Atkl 
Syn Mtl Atk2 


!Lmsm 


Syn Swt Atkl 
Syn Swt Atk2 


by 


Syn Swt Atk3 


!^ 


Rock Rim f 
Rock Rim 
Reg.SnrGst 
Rock Snr Gst 
Sft Snr Gst 
Jazz Snr p 
Jazz Snr mf 
Jazz Snrf 
Jazz Snrff 
Jazz Snr 
Jazz Rim p 
Jazz Rim mf 


Analog Snr 1 
Analog Snr 2 
Analog Snr 3 
Jam Snr 
Back Snr 
Keen Snr 2 
Boys Snr 1 
Slap Snr 3 
Neck Snr 
Artful Snr 
Pin Snr 
Chemical Snr 


TR909 CHH 1 
TR909 CHH 2 
Shaky CHH 
Club CHH 2 
TR808 CHH 1 
TR808 CHH 2 
TR606 CHH 1 
TR606 CHH 2 
TR606 DstCHH 
Lite CHH 
CR78 CHH 
DR55 CHH 


Street Rim 
Regular Rim 
TR909 Rim 
TR808 Rim 
Reg. F.Tom p 
Reg. F.Tom f 
Reg. F.Tom 
Reg. L.Tom p 
Reg. L.Tom f 
Reg. L.Tom 
Reg. M.Tom p 
Reg. M.Tom f 


Crash Cyml f 
Crash Cym 1 
Crash Cym 2 
Rock Crash 1 
Rock Crash 2 
Splash Cym 
Jazz Crash 
TR909 Crash 
TR606 Cym 
Ride Cymbal 
Ride Bell 
Rock Rd Cup 


Syn Swt Atk4 
Syn Swt Atk5 


HE. 


Syn Swt Atk6 
Syn Swt Atk7 


b4' 


R8 Click 


65 __ 


MC500 Beep 1 
MC500 Beep 2 


g!|MSM 


DR202 Beep 
JD Switch 


71^ 


Cutting Nz 
Vinyl Noise 
Applause 


'-^W 


Jazz Rim f 
Jazz Rim ff 
Jazz Rim 
Jz Brsh Slap 
Jz Brsh Swsh 
Swish&Turn p 
Swish&Turn f 
Swish&Turn 
Snr Roll 
Snr Roll Lp 
Soft Jz Roll 
BrushRoll Lp 


Sizzle Snr 
Tiny Snare 
R&B Snare 1 
R&B Snare 2 
Cross Snr 
Grave Snr 
Boys Snr 2 
Boys Snr 3 
Low Down Snr 
TR909 Snr 1 
TR909 Snr 2 
TR909 Snr 3 


Neck CHH 
Dance CHH 
Reg.PHH mf 
Reg.PHHf 
Reg.PHH 
Street PHH 
Swallow PHH 
Hip PHH 
TR909 PHH 1 
TR909 PHH 2 
TR808 PHH 
TR606 PHH 1 


Reg. M.Tom 
Reg. H.Tom p 
Reg. H.Tom f 
Reg. H.Tom 
Reg.L.TomFlm 
Reg.M.TomFlm 
Reg.H.TomFlm 
Jazz Lo Tom 
Jazz Mid Tom 
Jazz Hi Tom 
Jazz Lo Flm 
Jazz Mid Flm 


Rock Rd Edge 
Jazz Ride p 
Jazz Ride mf 
TR909 Ride 
TR707 Ride 
China Cymbal 
Concert Cym 
ClassicHseHt 
OrangeHit 1 
OrangeHit 2 
OrangeHit 3 
7th Hit 


River 
Thunder 


^ 


Monsoon 
Stream 


/b 


Bubble 


!^J^ 


Bird Song 
Dog Bark 


> 


Gallop 
Vint.Phone 
Office Phone 
Mobile Phone 


83 


Door Creak 


■^ 


GoodOld Snri 
GoodOld Snr2 
GoodOld Snr3 
GoodOld Snr4 
GoodOld Snr5 
GoodOld SnrS 
Dirty Snr 1 
Dirty Snr 2 
Dirty Snr 3 
Dirty Snr 4 
Dirty Snr 5 
Dirty Snr 6 


TR909 Snr 4 
TR909Snr5 
TR909 Snr 6 
TRB08 Snr 1 
TRB08 Snr 2 
TR808 Snr 3 
TR808 Snr 4 
Lite Snare 
TR808 Snr 5 
TR808 Snr 6 
TR808 Snr 7 
TR606 Snr 1 


TR606 PHH 2 
Lo-Bit PHH 
Lo-Bit OHH 1 
RockOHH 
Reg.CHH mf 
Reg.CHH f 
Reg.CHH ff 
Reg.CHH 
Lo-Bit OHH 2 
Lo-Bit OHH 3 
Neck OHH 
Bang OHH 


Jazz Hi Flm 
Sharp Lo Tom 
Sharp Hi Tom 
Dry Lo Tom 
Dry Hi Tom 
TR909 Tom 
TR909 DstTom 
TR808 Tom 
TR606 Tom 
Deep Tom 


Brassy Hit 
Drive Hit 
Filtered Hit 
Mild Hit 
Narrow Hit 1 
Narrow Hit 2 
Euro Hit 
Dist Hit 
Thin Beef 
Tao Hit 
Smear Hit 1 
Philly Hit 


Door Slam 
Car Engine 


> 


Car Slip 
Car Pass 


88 


Crash Seq. 


89 __ 


Gun Shot 
Siren 


gl^KM 


Train Pass 
Airplane 


HE!I 


Laugh 
Scream 


yb 


Punch 


96 


Dirty Snr 7 
Dirty Snr 8 
Dirty Snr 9 
Dirty Snr 10 


TR606 Snr 2 
CR78 Snare 
Urbn Sn Roll 
JngI SnrRoll 


HipHop OHH 
TR909 OHH 1 
TR909 OHH 2 
TR808 OHH 1 
TR808 OHH 2 
TR606 OHH 
Lite OHH 
CR78 OHH 


-~ 


Smear Hit 2 
LoFi Min Hit 
Orch. Hit 
Punch Hit 
O'Skool Hit 


Heartbeat 
Footsteps 


Hia 


Machine Gun 
Laser 


100 


Thunder Lp 


101 

[■Ilia 


Metro Bell 
Metro Click 


103 






198 




JUNO-G_e.book 199 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



Rhythm Set List 



C3 



C4 



C5 



C6 



C7 



Prst: 
User: 
Note No. 


031 
027 
Percussion 

Finger Snap 


032 
028 
Scrli&Voi&Wld 

Scratch 1 


033 
029 
JG Break Kit 

JG Brk AKIck 
JG Brk BKIck 
JG Brk CKick 
JG Brk DKick 
JG Brk EKIck 
JG Brk FKick 
JG Brk GKick 
JG Brk HKick 


034 
030 
PassionDrums 

SH32 Kick 
JD EML 5th 
AnalogKick 6 
Low Kick 2 
Low Kick 3 
Back Kick 
Car Pass 
PlasticKickS 


035 
031 
Arpeggiate!? 

MaxLow Kicks 
Rk CmpKick 
Gospel Clap 
Boys Kick 
Snr Roll 
HIpHop Kick2 
Reg.PHH 
Reg. Kick 


036 
032 
De Facto Kit 


28 


SBF Nz Lp 


^!|BI 


Metal Vox L2 
Org Leakage 


^l^im 


Gallop 
Org Click 1 


HE! 


Thunder 
River 


3b 


MG Noise Fx 


'^ 


Club FinSnap 
Single Snap 
Snap 

Group Snap 
Cowbell 
Cowbell Mute 
Wood Block 
Claves 

TR808 Claves 
CR78 Beat 
Castanet 
Whistle 


Scratch 2 
Scratch 3 
Scratch 4 
Scratch 5 
Scratch 6 
Scratch 7 
Scratch 8 
Scratch 9 
Scratch 1 
Vox Kick 1 
Vox Kick 2 
VoxKlckSweep 


JG Brk IKick 
JG Brk BClap 
JG Brk ASnar 
JG Brk RStck 
JG Brk BSnar 
JG Brk DTomL 
JG Brk RCHH 
JG Brk DTomL 
JG Brk RCHH 
JG Brk DTomM 
JG Brk RCHH 
JG Brk DTomM 


TR909 Kick 4 
R&B Rim 2 
TR909 Snr 5 
Back Snr 
Boys Snr 2 
Reg. L.Tom 
TR606 CHH 2 
Reg. M.Tom 
Lo-BIt PHH 
Reg. F.Tom 
Lite OHH 
Reg. M.Tom 


Frenzy Kick 
Vinyl Kick 
Boys Kick 
Reg. Kick 
Reg. Kick 
Low Kick 2 
TR909 Kick 3 
Conga Hi Mt 
Jz Slap Bass 
Gtr Cut 3 
Scratch 1 
Scratch 7 


Heartbeat 
Car Slip 


^ 


Crash Seq. 
Car Pass 


40 


Gun Shot 


lljia 


Train Pass 
Airplane 


!!|gM 


Laugh 
Scream 


HEa 


Car Engine 
Door Slam 


4/ 


Footsteps 


5 

52' — 


Bongo HI Mt 
Bongo HI Sip 
Bongo Lo Sip 
Bongo HI Op 
Bongo Lo Op 
Conga Hi Mt 
Conga Lo Mt 
Conga Hi Sip 
Conga Lo Sip 
Conga Hi Op 
Conga Lo Op 
Conga Sip Op 


Vox Snare 1 
Vox Snare 2 
Vox Hihat 1 
Vox Hihat 2 
Vox Hihat 3 
Vox Cymbal 
Pa! 
Chiki! 

Aah Formant 
Eeh Formant 
lib Formant 
Ooh Formant 


JG Brk DTomH 
JG Brk RCrsh 
JG Brk DTomH 
JG BrkCRide 
JGBrkJCrsh 
JG Brk CCrsh 
JG Brk Noise 
JG Brk RCup 
JG Brk LScra 
JG Brk CCrsh 
JG Brk LScra 
JGBrkJKIck 


ConcertBD 
Crash Cym 2 
Reg. H.Tom 
Jazz Ride 
TR909 Kick 3 
Disc CHH 
CR78 Tamb 
Bang CHH 
ConcertBD Lp 
TR909 OHH 2 
Cowbell 
TR606 Cym 


Syn Swt Atkl 
TablaBayam 1 
Udo 

VoxKlckSweep 
Vox Hihat 1 
Cowbell 
Bongo Hi Mt 
ClasslcHseHt 
Reg. CHH 1 
Org Click 1 
DIgi Breath 
SynVox Noise 


Machine Gun 
Laser 

DIstGtr Nz 2 
Ac. Bass Nz 2 
Punch 


> 


DIstGtr Nz 1 
DIstGtr Nz 3 
GtrStroke Nz 
E.Bass Nz 2 
ClasslcHseHt 
7th Hit 


by 


OrangeHIt 3 


^ 


Conga Efx 
Conga Thumb 
Timbale 1 
Timbale 2 
Cabasa Up 
Cabasa Down 
Cabasa Cut 
Maracas 
808 Maracas 
R8 Shaker 1 
R8 Shaker 2 
Shaker 1 


Uuh Formant 
Metal Vox W1 
Metal Vox W2 
Metal Vox W3 
JD Gamelan 
JD Gamelan 
JD Gamelan 
JD Gamelan 
JD Gamelan 
JD Gamelan 
JD Gamelan 
JD Gamelan 


JG Brk KKIck 
JG Brk RClap 
JG Brk CSnar 
JG Brk RStck 
JG Brk DSnar 
JG Brk STomH 
JGBrkSCHH 
JG Brk STomH 
JGBrkSPHH 
JG Brk STomH 
JG Brk SOHH 
JG Brk STomH 


TR909 Crash 
Jazz Ride 
Filtered Hit 
P5SqrHD 
Custm Sqr HD 
TR808 Snr S 
Alpha Rave 
Jazz Crash 
Funk Clap 
TR909 CHH 2 
TR909 OHH 2 
Mute Tp 


JPSPIsSHD 
Metal Vox W1 
Harmonica 
Shamisen 
Flute 

Dyno EP mp 
SlwPick70s 
CIn Gtr Cut 
Hard Clav 
TVF Trigger 
Applause 
Euro Hit 


OrangeHIt 1 
Brassy Hit 
Filtered Hit 
Mild Hit 


b4' 


Narrow Hit 1 


65 __ 


Euro Hit 
Dist Hit 


g!|MSM 


Thin Beef 
Tao Hit 


71^ 


Smear Hit 1 
Smear Hit 2 
LoFI Min Hit 


^%l 


Shaker 2 
Bone Shake 
CR78 Guiro 
Guiro 1 
Guiro 2 
Guiro Long 
TR7270uljada 
VIbraslap 
Tambohne 1 
Tambohne 2 
Tambohne 3 
CR78 Tamb 


JD Gamelan 
JD Gamelan 
JD Gamelan 
JD Gamelan 
TablaBayam 1 
TablaBayam 2 
TablaBayam 3 
TablaBayam 4 
TablaBayam 5 
TablaBayam 6 
TablaBayam 7 
Cajon 1 


JG Brk STomH 
JG Brk RevON 
JG Brk STomH 
JG Brk RevOF 
JG Brk ATabI 
JG Brk BTabI 
JG Brk CTabI 
JG Brk DTabI 
JG Brk SDrum 
JGBrkAUdu 
JGBrkAUdu 
JGBrkAUdu 


Ride Cymbal 
MrchCmp Snr 
Pick Kick 
Lo-BIt Stk 1 
TR909 Snr S 
Claptail 
Siren 

TR808 OHH 1 
Rk CmpKick 
TR606 CHH 2 
Syn Low Atkl 
Low White Nz 


MG Zap 1 
Syn Swt Atk2 
Syn Hrd Atk2 
GtrStroke Nz 
JDStrlkePole 
Vint.Phone 
DIstGtr Nz 1 
Reg. M.Tom 
Jazz Lo Tom 
Reg.L.TomFlm 
TR909 Clap 2 
Vox Snare 1 


Orch. Hit 
Punch Hit 


^ 


O'Skool Hit 
Philly Hit 


/b 


Scratch 2 


> 


Scratch 3 
Scratch 4 
Scratch 5 
Scratch 8 
Scratch 9 
Scratch 10 


83 


MG Zap 1 


■^ 


Timpani p 
Timpani f 
Timpani Roll 
Timpani Lp 
ConcertBD p 
ConcertBD f 
ConcertBD ff 
ConcertBD Lp 
ConcertBD 
Thanglel Mt 
Thanglel Op 
Thangle2 Mt 


Cajon 2 

Cajon 3 

Udo 

Udu Pot Hi 

Udu Pot Sip 

SprgDrm Hit 

Op Pandeiro 

Mt Pandeiro 

Cuica 

JD Anklungs 


JG Brk ACong 
JG Brk ACong 
JG Brk ACong 
JG Brk ACong 
JG Brk ACong 
JG Brk AHitL 
JG Brk AHitL 
JG Brk BHitL 
JG Brk BHitL 
JG Brk CHitL 
JG Brk CHitU 
JG Brk DHit 


MG Zap 9 
Happy Clap 
TR808 Snr 7 
TR808 Snr 3 
TR808 Snr 2 
Club CHH 2 
CR78 OHH 
LowDwn CHH 
Lo-BIt OHH 1 
TR909 OHH 2 
TR606 OHH 
CR78 OHH 


Cabasa Down 
SprgDrm Hit 
Digital Vox 
JD Nasty 
Vib Wave 
Kalimba 
JD Tabia 
JD Log Drum 
Bell Organ 
Gtr Cut 1 
Eeh Formant 
Xylo Seq. 


MGZap 10 
MG Zap 2 


> 


Syn Low Atkl 
Syn Hrd Atk2 


88 


Syn Hrd Atk3 


89 __ 


Syn Hrd Atk4 
Syn Mtl Atkl 


gl^KM 


Syn Mtl Atk2 
Syn Swt Atkl 


HE!I 


Syn Swt Atk2 
Syn Swt Atk4 


yb 


Syn Swt Atk5 


96 


Thangle2 Op 
Tibet Cymbal 
Slight Bell 
Wind Chime 
Crotale 
Agogo Bell H 
Agogo Bell L 


i 


JG Brk ESnar 
JG Brk FSnar 
JGBrkGSnar 
JG Brk ISnar 
JG Brk ISnar 
JG Brk JSnar 
JG Brk KSnar 
JG Brk HSnar 


lOeSubOscHD 
TR909 Snr 6 
AnalogKick 3 
MG Bass 2 
TR808 Clap 1 
Dist Clap 
Super Saw 
MG Zap 7 


Gun Shot 
TablaBayam 3 
TablaBayam 4 
TablaBayam 5 
TablaBayam 6 
Wind Chime 
Tibet Cymbal 
Slight Bell 


Vox Kick 2 
VoxKlckSweep 


Hia 


Vox Snare 2 
Vox Cymbal 


100 


Pal 


101 

[■Ilia 


Chlkl! 

MC500 Beep 2 


103 


MC500 Beep 1 




199 




_e.book ZOO'^-y 2006^2^130 ^BIH ^lS2a$445J- 



Rhythm Set List 



GM (GM2 Group) 





C3 



C4 



C5 



C6 







001 (PC: 1) 


002 (PC: 9) 


003 (PC: 17) 


004 (PC: 25) 


005 (PC: 26) 


006 (PC: 33) 


GM2 STANDARD 


GM2 ROOM 


GM2 POWER 


GM2 ELECTRIC 


GM2 ANALOG 


GM2 JAZZ 


High-Q 


High-Q 


High-O 


High-Q 


HIgh-Q 


High-Q 


Slap 


Slap 


Slap 


Slap 


Slap 


Slap 


ScratchPush 


ScratchPush 


ScratchPush 


ScratchPush 


ScratchPush 


ScratchPush 


ScratchPull 


ScratchPull 


ScratchPull 


ScratchPull 


ScratchPull 


ScratchPull 


Sticks 


Sticks 


Sticks 


Sticks 


Sticks 


Sticks 


SquareClick 


SquareClick 


SquareClick 


SquareClick 


SquareClick 


SquareClick 


Mtrnm.Click 


Mtrnm.Click 


Mtrnm.Click 


Mtrnm.Click 


Mtrnm.Click 


Mtrnm.Click 


Mtrnm. Bell 


Mtrnm. Bell 


Mtrnm. Bell 


Mtrnm. Bell 


Mtrnm. Bell 


Mtrnm. Bell 


Mix Kick 


Mix Kick 


Mix Kick 


Mix Kick 


Mix Kick 


Jazz Kick 2 


Standard KK1 


Standard KK1 


Power KIckl 


Elec Kick 1 


TR-808 Kick 


Jazz Kick 1 


Side Stick 


Side Stick 


Side Stick 


Side Stick 


808 Rimshot 


Side Stick 


Standard SN1 


Standard SN1 


Dance Snarel 


Elec. Snare 


808 Snare 1 


Standard SN1 


909 Handclap 


909 Handclap 


909 Handclap 


909 Handclap 


909 Handclap 


909 Handclap 


Elec Snare 3 


Elec Snare 3 


Elec Snare 3 


Elec Snare 2 


Elec Snare 3 


Elec Snare 3 


Real Tom 6 


Room Tom 5 


Rock Tom 4 


Synth Drum 2 


808 Tom 2 


Real Tom 6 


Close HiHat2 


Close HIHat2 


Close HiHat2 


Close HiHat2 


TR-808 CHH 


Close HiHat2 


Real Tom 6 


Room Tom 5 


Rock Tom 4 


Synth Drum 2 


808 Tom 2 


Real Tom 6 


Pedal HiHat2 


Pedal HIHat2 


Pedal HiHat2 


Pedal HiHat2 


808 chh 


Pedal HiHat2 


Real Tom 4 


Room Tom 2 


Rock Tom 4 


Synth Drum 2 


808 Tom 2 


Real Tom 4 


Open HIHat2 


Open HiHat2 


Open HiHat2 


Open HIHat2 


TR-808 OHH 


Open HiHat2 


Real Tom 4 


Room Tom 2 


Rock Tom 4 


Synth Drum 2 


808 Tom 2 


Real Tom 4 


Real Tom 1 


Room Tom 2 


Rock Tom 1 


Synth Drum 2 


808 Tom 2 


Real Tom 1 


Crash Cym.1 


Crash Cym.1 


Crash Cym.1 


Crash Cym.1 


808 Crash 


Crash Cym.1 


Real Tom 1 


Room Tom 2 


Rock Tom 1 


Synth Drum 2 


808 Tom 2 


Real Tom 1 


Ride Cymbal 


Ride Cymbal 


Ride Cymbal 


Ride Cymbal 


Ride Cymbal 


Ride Cymbal 


ChinaCymbal 


ChinaCymbal 


ChinaCymbal 


ReverseCymbI 


ChinaCymbal 


ChinaCymbal 


Ride Bell 


Ride Bell 


Ride Bell 


Ride Bell 


Ride Bell 


Ride Bell 


Tambourine 


Tambourine 


Tambourine 


Tambourine 


Tambourine 


Tambourine 


Splash Cym. 


Splash Cym. 


Splash Cym. 


Splash Cym. 


Splash Cym. 


Splash Cym. 


Cowbell 


Cowbell 


Cowbell 


Cowbell 


808cowbe 


Cowbell 


Crash Cym.2 


Crash Cym.2 


Crash Cym.2 


Crash Cym.2 


Crash Cym.2 


Crash Cym.2 


VIbraslap 


VIbraslap 


VIbraslap 


VIbraslap 


VIbraslap 


VIbraslap 


Ride Cymbal 


Ride Cymbal 


Ride Cymbal 


Ride Cymbal 


Ride Cymbal 


Ride Cymbal 


Bongo High 


Bongo High 


Bongo High 


Bongo High 


Bongo High 


Bongo High 


Bongo Lo 


Bongo Lo 


Bongo Lo 


Bongo Lo 


Bongo Lo 


Bongo Lo 


Mute H. Conga 


Mute H.Conga 


Mute H.Conga 


Mute H.Conga 


808 Conga 


Mute H.Conga 


Conga Hi Opn 


Conga Hi Opn 


Conga HI Opn 


Conga Hi Opn 


808 Conga 


Conga Hi Opn 


Conga Lo Opn 


Conga Lo Opn 


Conga Lo Opn 


Conga Lo Opn 


808 Conga 


Conga Lo Opn 


High Timbale 


High Timbale 


High Timbale 


High Timbale 


High Timbale 


High Timbale 


Low Timbale 


Low Timbale 


Low Timbale 


Low Timbale 


Low Timbale 


Low Timbale 


Agogo 


Agogo 


Agogo 


Agogo 


Agogo 


Agogo 


Agogo 


Agogo 


Agogo 


Agogo 


Agogo 


Agogo 


Cabasa 


Cabasa 


Cabasa 


Cabasa 


Cabasa 


Cabasa 


Maracas 


Maracas 


Maracas 


Maracas 


808marac 


Maracas 


ShrtWhistle 


ShrtWhistle 


ShrtWhistle 


ShrtWhistle 


ShrtWhistle 


ShrtWhistle 


LongWhistle 


LongWhistle 


LongWhistle 


LongWhistle 


LongWhistle 


LongWhistle 


Short Guiro 


Short Guiro 


Short Guiro 


Short Guiro 


Short Guiro 


Short Guiro 


Long Guiro 


Long Guiro 


Long Guiro 


Long Guiro 


Long Guiro 


Long Guiro 


Claves 


Claves 


Claves 


Claves 


808clave 


Claves 


Woodblock 


Woodblock 


Woodblock 


Woodblock 


Woodblock 


Woodblock 


Woodblock 


Woodblock 


Woodblock 


Woodblock 


Woodblock 


Woodblock 


Mute Cuica 


Mute Cuica 


Mute Cuica 


Mute Cuica 


Mute Cuica 


Mute Cuica 


Open Cuica 


Open Cuica 


Open Cuica 


Open Cuica 


Open Cuica 


Open Cuica 


MuteTrlangI 


MuteTrlangI 


MuteTrlangI 


MuteTrlangI 


MuteTrlangI 


MuteTrlangI 


OpenTriangI 


OpenTriangI 


OpenTriangI 


OpenTriangI 


OpenTriangI 


OpenTriangI 


Shaker 


Shaker 


Shaker 


Shaker 


Shaker 


Shaker 


Jingle Bell 


Jingle Bell 


Jingle Bell 


Jingle Bell 


Jingle Bell 


Jingle Bell 


Bell Tree 


Bell Tree 


Bell Tree 


Bell Tree 


Bell Tree 


Bell Tree 


Castanets 


Castanets 


Castanets 


Castanets 


Castanets 


Castanets 


Mute Surdo 


Mute Surdo 


Mute Surdo 


Mute Surdo 


Mute Surdo 


Mute Surdo 


Open Surdo 


Open Surdo 


Open Surdo 


Open Surdo 


Open Surdo 


Open Surdo 



PC: Program Change Number 



Bank Select MSB is all 120, LSB is all 




200 




JUNO-G_e.book 201 '^-y 2 00 6^2^130 ^BIH ^lS2a$4 45J- 



(^ 



Rhythm Set List 





C3 



C4 



C5 



C6 







GM (GM2 Group) 

007 (PC: 41) 

GM2 BRUSH 

High-Q 

Slap 

ScratchPush 

ScratchPull 

Sticks 

SquareClick 

Mtrnm.Click 

Mtrnm. Bell 

Jazz Kick 2 



008 (PC: 49) 

GM2 ORCHSTRA 

Close HIHat2 
Pedal HIHat2 
Open HiHat2 
Ride Cymbal 
Sticks 

SquareClick 
Mtrnm.Click 
Mtrnm. Bell 
Cpncert.BD 



009 (PC: 57) 

GM2 SFX 



Jazz Kick 1 
Side Stick 
Brush Swirl 
Brush Slapl 
Brush Swirl 
Real Tom 6 
Close HiHat2 
Real Tom 6 
Pedal HiHat2 
Real Tom 4 
Open HIHat2 
Real Tom 4 



ConcertBD Mt 
Side Stick 
Concert Snr 
Castanets 
Concert Snr 
Timpani 
Timpani 
Timpani 
Timpani 
Timpani 
Timpani 
Timpani 



High-Q 

Slap 

ScratchPush 

ScratchPull 

Sticks 

SquareClick 

Mtrnm.Click 

Mtrnm. Bell 

Gt.FretNoiz 



Real Tom 1 
Crash Cym.1 
Real Tom 1 
Ride Cymbal 
ChinaCymbal 
Ride Bell 
Tambourine 
Splash Cym. 
Cowbell 
Crash Cym.2 
VIbraslap 
..Ride.Cy.mba!... 



Timpani 
Timpani 
Timpani 
Timpani 
Timpani 
Timpani 
Tambourine 
Splash Cym. 
Cowbell 
Con.Cymbal2 
VIbraslap 
..C.Qncert.Cym... 



Gt.CutNoise 
Gt.CutNoise 
String Slap 
FI.KeyCIIck 
Laughing 
Screaming 
Punch 
Heart Beat 
Footsteps 
Footsteps 
Applause 
..Creaking 



Bongo High 
Bongo Lo 
Mute H. Conga 
Conga Hi Opn 
Conga Lo Opn 
High Timbale 
Low Timbale 
Agogo 
Agogo 
Cabasa 
Maracas 
ShrtWhistle 



Bongo High 
Bongo Lo 
Mute H.Conga 
Conga Hi Opn 
Conga Lo Opn 
High Timbale 
Low Timbale 
Agogo 
Agogo 
Cabasa 
Maracas 
ShrtWhistle 



Door 

Scratch 

Wind Chimes 

Car-Engine 

Car-Stop 

Car-Pass 

Car-Crash 

Siren 

Train 

Jetplane 

Helicopter 

Starship 



LongWhistle 
Short Guiro 
Long Guiro 
Claves 
Woodblock 
Woodblock 
Mute Cuica 
Open Cuica 
MuteThangI 
OpenTriangI 
Shaker 
Jingle Bell 
Bell free 
Castanets 
Mute Surdo 
Open Surdo 



LongWhistle 
Short Guiro 
Long Guiro 
Claves 
Woodblock 
Woodblock 
Mute Cuica 
Open Cuica 
MuteTriangI 
OpenThangI 
Shaker 
Jingle Bell 



Bell Tree 
Castanets 
Mute Surdo 
Open Surdo 
Applause 



Gun Shot 

Machine Gun 

Lasergun 

Explosion 

Dog 

HorseGallop 

Bird 

Rain 

Thunder 

Wind 

Seashore 

Stream 

Bubble 



PC: Program Change Number 



Bank Select MSB is all 120, LSB is all 




201 




_e.book 202 '^-y 2006^2^130 ^BIH ^lt2a$445j- 




Waveform List 



No. 


Wave Name 


No. 


Wave Name 


No. 


Wave Name 


No. 


Wave Name 


No. 


Wave Name 


No. 


Wave Name 


0001 


Juno Saw HD 


0081 


DigiSpectrum 


0161 


Ac.Pno f C L 


0241 


3rd Perc Org 


0321 


Funk Gtr B 


0401 


ThumbMtBs fB 


0002 


TB303 Saw HD 


0082 


JD Vox Noise 


0162 


Ac.Pno £ C R 


0242 


Lo-Fi Organ 


0322 


Funk Gtr C 


0402 


ThumbMtBs fC 


0003 


Custm Saw HD 


0083 


SynVox Noise 


0163 


JD Piano A 


0243 


Perc Organ 1 


0323 


Funk MtGtr A 


0403 


Fretlss Bs A 


0004 


Real MG Saw 


0084 


Shaku Noise 


0164 


JD Piano B 


0244 


Perc Organ 2 


0324 


Funk MtGtr B 


0404 


Fretlss Bs B 


0005 


MG Saw HD 


0085 


Digi Breath 


0165 


JD Piano C 


0245 


Rock Organ A 


0325 


Funk MtGtr C 


0405 


Fretlss Bs C 


0006 


700 Saw A 


0086 


Agogo Noise 


0166 


Piano Atk Nz 


0246 


Rock Organ B 


0326 


Easy Gtr A 


0406 


Fretlss SftA 


0007 


700 Saw B 


0087 


Polishing Nz 


0167 


MKS Piano A 


0247 


Rock Organ C 


0327 


Easy Gtr B 


0407 


Fretlss SftB 


0008 


700 Saw C 


0088 


Dentist Nz 


0168 


MKS Piano B 


0248 


RtryOrgl A L 


0328 


Easy Gtr C 


0408 


Fretlss SftC 


0009 


0B2 Saw HD 


0089 


Vinyl Noise 


0169 


MKS Piano C 


0249 


RtryOrgl A R 


0329 


Nasty Gtr 


0409 


Pick Bass lA 


0010 


DigitalSawHD 


0090 


White Noise 


0170 


Stage EP p A 


0250 


RtryOrgl B L 


0330 


Clean TC A 


0410 


Pick Bass IB 


0011 


Calc.Saw 


0091 


Pink Noise 


0171 


Stage EP p B 


0251 


RtryOrgl B R 


0331 


Clean TCB 


0411 


Pick Bass IC 


0012 


Calc.Saw inv 


0092 


SBF Cym Lp 


0172 


Stage EP p C 


0252 


RtryOrgl C L 


0332 


Clean TCC 


0412 


Pick Bass 2 


0013 


Synth Saw 


0093 


SBF Bell Lp 


0173 


Stage EP f A 


0253 


RtryOrgl C R 


0333 


Overdrive A 


0413 


Slap Bass 


0014 


JD Syn Saw 


0094 


SBF Nz Lp 


0174 


Stage EP f B 


0254 


RtryOrg2 A L 


0334 


Overdrive C 


0414 


Slap +Pull 1 


0015 


JD Fat Saw 


0095 


MG Bass 1 A 


0175 


Stage EPfC 


0255 


RtryOrg2 A R 


0335 


Distortion A 


0415 


Slap +Pull 2 


0016 


JP-8 Saw 


0096 


MG Bass 1 B 


0176 


Tine EP p A 


0256 


RtryOrg2 B L 


0336 


Distortion B 


0416 


Slap +Pull 3 


0017 


P5 Saw HD 


0097 


MG Bass 1 C 


0177 


Tine EP p B 


0257 


RtryOrg2 B R 


0337 


Distortion C 


0417 


Jz Slap Bass 


0018 


D-50 Saw 


0098 


DistTB Sqr 


0178 


Tine EP p C 


0258 


RtryOrg2 C L 


0338 


Dist Mute A 


0418 


Jz Slp+PuUl 


0019 


Air Wave 


0099 


DistTBSqr Lp 


0179 


Tine EP mf A 


0259 


RtryOrg2 C R 


0339 


Dist Mute B 


0419 


Jz Slp+PulI2 


0020 


Unison Saw A 


0100 


Solid Bass 


0180 


Tine EP mf B 


0260 


LoFi RtryOrg 


0340 


Dist Mute C 


0420 


Jz Slp+Pull3 


0021 


Unison Saw B 


0101 


MG Big Bass 


0181 


Tine EP mf C 


0261 


Vint.Org 1 


0341 


Dist Chord A 


0421 


Atk Flute A 


0022 


Unison Saw C 


0102 


Jungle Bass 


0182 


Tine EP ff A 


0262 


Vint.Org 2 


0342 


Dist Chord B 


0422 


Atk Flute B 


0023 


Super Saw A 


0103 


Garage Bass 


0183 


Tine EP ff B 


0263 


Vint.Org 3 


0343 


Dist Chord C 


0423 


Atk Flute C 


0024 


Super Saw B 


0104 


106 Bs56 


0184 


Tine EP ff C 


0264 


Vint.Org 4 


0344 


Dst Gtr Riff 


0424 


Flute A 


0025 


Super Saw C 


0105 


SH-101 Bs A 


0185 


Dyno EP mp A 


0265 


R_ORGAN A 


0345 


Gtr Trill 


0425 


Flute B 


0026 


Trance Saw A 


0106 


SH-101 Bs B 


0186 


Dyno EP mp B 


0266 


Lite Dst Org 


0346 


Cln Gtr Cut 


0426 


Flute C 


0027 


Trance Saw B 


0107 


SH-101 Bs C 


0187 


Dyno EP mp C 


0267 


Positive '8 


0347 


Gtr Cut 1 


0427 


Piccolo A 


0028 


Trance Saw C 


0108 


TB Natural 


0188 


Dyno EP mf A 


0268 


Pipe Organ 


0348 


Gtr Cut 2 


0428 


Piccolo B 


0029 


Alpha Rave 


0109 


Poly Bass 


0189 


Dyno EP mf B 


0269 


Cathedrl Org 


0349 


Gtr Cut 3 


0429 


Piccolo C 


0030 


Saw Sync A 


0110 


Organ Bass 


0190 


Dyno EP mf C 


0270 


Nylon Ctrl A 


0350 


Gtr Cut 4 


0430 


Pan Flute 


0031 


Saw Sync B 


0111 


Voco Bass 


0191 


DynoEPff A 


0271 


Nylon Ctrl B 


0351 


Wah Gtr Riff 


0431 


JD Rad Hose 


0032 


Saw Sync C 


0112 


MG Bass 2 A 


0192 


Dyno EP ff B 


0272 


Nylon Ctrl C 


0352 


E.Gtr Harm 


0432 


Shakuhachi 


0033 


TB Dsl Saw A 


0113 


MG Bass 2 B 


0193 


DynoEPffC 


0273 


Nylon Gtr2 A 


0353 


JD ScrapeGut 


0433 


JD Fl Push 


0034 


TB Dst Saw B 


0114 


MG Bass 2 C 


0194 


Wurly mp A 


0274 


Nylon Gtr2 B 


0354 


Harp A 


0434 


Clarinet A 


0035 


TB Dst Saw C 


0115 


MG Bass 3 


0195 


Wurly mp B 


0275 


Nylon Gtr2 C 


0355 


HarpB 


0435 


Clarinet B 


0036 


Juno Sqr HD 


0116 


MG Bass 4 


0196 


Wurly mp C 


0276 


Bright Gtr A 


0356 


HarpC 


0436 


Clarinet C 


0037 


MG Sqr HD 


0117 


MC Bass A 


0197 


Wurly mf A 


0277 


Bright Gtr B 


0357 


Banjo A 


0437 


Oboe Mezzo A 


0038 


P5 Sqr HD 


0118 


MC Bass B 


0198 


Wurly mf B 


0278 


Bright Gtr C 


0358 


Banjo B 


0438 


Oboe Mezzo B 


0039 


0B2 Sqr HD 


0119 


MC Bass C 


0199 


Wurly mfC 


0279 


Ac.Gtr mp A 


0359 


Banjo C 


0439 


Oboe Mezzo C 


0040 


Custm Sqr HD 


0120 


SH-101 Bs 4A 


0200 


Wurly ff A 


0280 


Ac.Gtr mp B 


0360 


Sitar A 


0440 


Oboe Forte A 


0041 


106SubOsc HD 


0121 


SH-101 Bs 4B 


0201 


Wurly f f B 


0281 


Ac.Gtr mp C 


0361 


Sitar B 


0441 


Oboe Forte B 


0042 


TB303 Sqr HD 


0122 


SH-101 Bs 4C 


0202 


Wurly ffC 


0282 


Ac.Gtr mf A 


0362 


Sitar C 


0442 


Oboe Forte C 


0043 


Fat Square 


0123 


Atk Syn Bass 


0203 


Lo-Fi Wurly 


0283 


Ac.Gtr mf B 


0363 


Sitar Dm A 


0443 


E.Horn A 


0044 


JP-8 Square 


0124 


Warm Pad A 


0204 


Soft SA EP A 


0284 


Ac.Gtr mf C 


0364 


Sitar Dm B 


0444 


E.Horn B 


0045 


TB DstSqr lA 


0125 


Warm Pad B 


0205 


Soft SA EP B 


0285 


Ac.Gtr ff A 


0365 


Sitar Dm C 


0445 


E.Horn C 


0046 


TB DstSqr IB 


0126 


Warm Pad C 


0206 


Soft SA EP C 


0286 


Ac.Gtr ff B 


0366 


E.Sitar A 


0446 


Bassoon A 


0047 


TB DstSqr IC 


0127 


0B2 Pad 1 A 


0207 


Hard SA EP A 


0287 


Ac.Gtr ffC 


0367 


E.Sitar B 


0447 


Bassoon B 


0048 


Dist SquareA 


0128 


0B2 Pad 1 B 


0208 


Hard SA EP B 


0288 


Ac.Gtr Sid A 


0368 


E.Sitar C 


0448 


Bassoon C 


0049 


Dist SquareB 


0129 


0B2 Pad 1 C 


0209 


Hard SA EP C 


0289 


Ac.Gtr Sid B 


0369 


Santur A 


0449 


Recorder A 


0050 


Dist SquareC 


0130 


0B2 Pad 2 A 


0210 


SA EP Ens A 


0290 


Ac.Gtr Sid C 


0370 


SanturB 


0450 


Recorder B 


0051 


Juno Pis HD 


0131 


0B2 Pad 2 B 


0211 


SA EP Ens B 


0291 


Ac.Gtr Hrm A 


0371 


Santur C 


0451 


Recorder C 


0052 


JP8 Pis 05HD 


0132 


0B2 Pad 2 C 


0212 


SA EP Ens C 


0292 


Ac.Gtr Hrm B 


0372 


Dulcimer A 


0452 


SopranoSax A 


0053 


JP8 Pis 15HD 


0133 


D-50 HeavenA 


0213 


SA E.Piano A 


0293 


Ac.Gtr Hrm C 


0373 


Dulcimer B 


0453 


SopranoSax B 


0054 


JP8 Pis 25HD 


0134 


D-50 HeavenB 


0214 


SA E.Piano B 


0294 


Jazz Gtr A 


0374 


Dulcimer C 


0454 


SopranoSax C 


0055 


JP8 Pis 30HD 


0135 


D-50 HeavenC 


0215 


SA E.Piano C 


0295 


Jazz Gtr B 


0375 


Shamisen A 


0455 


Alto Sax Vib 


0056 


JP8 Pis 40HD 


0136 


Syn Vox 1 A 


0216 


80's E.Pno 1 


0296 


Jazz Gtr C 


0376 


Shamisen B 


0456 


Soft Alto A 


0057 


JP8 Pis 45HD 


0137 


Syn Vox 1 B 


0217 


80's E.Pno 2 


0297 


Clean Gtr A 


0377 


Shamisen C 


0457 


Soft Alto B 


0058 


Syn Pulse 1 


0138 


Syn Vox 1 C 


0218 


Hard E.Pno 


0298 


Clean Gtr B 


0378 


Koto A 


0458 


Soft Alto C 


0059 


Syn Pulse 2 


0139 


Syn Vox 2 A 


0219 


Celesta 


0299 


Clean Gtr C 


0379 


KotoB 


0459 


Wide Sax A 


0060 


MG Tri HD 


0140 


Syn Vox 2 B 


0220 


Music Box 


0300 


Clr Mt Gtr A 


0380 


KotoC 


0460 


Wide Sax B 


0061 


700 Triangle 


0141 


Syn Vox 2 C 


0221 


Reg.Clav A 


0301 


Clr Mt Gtr B 


0381 


Ac.Bass A 


0461 


Wide Sax C 


0062 


Syn Triangle 


0142 


SBF Vox A 


0222 


Reg.Clav B 


0302 


Clr Mt Gtr C 


0382 


Ac.Bass B 


0462 


BreathySax A 


0063 


JD Triangle 


0143 


SBF Vox B 


0223 


Reg.Clav C 


0303 


E.Gtr Ld 1 


0383 


Ac.Bass C 


0463 


BreathySax B 


0064 


ARP Sine HD 


0144 


SBF Vox C 


0224 


Retro Clav A 


0304 


E.Gtr Ld 2 


0384 


FngrCmp Bs A 


0464 


BreathySax C 


0065 


Sine 


0145 


SBF Vox Lp 


0225 


Retro Clav B 


0305 


Brt Strat A 


0385 


FngrCmp Bs B 


0465 


Tenor Sax A 


0066 


CalcSlN2 


0146 


Aah Formant 


0226 


Retro Clav C 


0306 


Brt Strat B 


0386 


FngrCmp Bs C 


0466 


Tenor Sax B 


0067 


KG800 Lead 


0147 


Eeh Formant 


0227 


Tight Clav A 


0307 


Brt Strat C 


0387 


Finger Bs A 


0467 


Tenor Sax C 


0068 


MG Fs Lead 


0148 


lih Formant 


0228 


Tight Clav B 


0308 


SlwPick70s A 


0388 


Finger Bs B 


0468 


Bari.Sax 1 A 


0069 


Juno Saw+Sub 


0149 


Ooh Formant 


0229 


Tight Clav C 


0309 


SlwPick70s B 


0389 


Finger Bs C 


0469 


Bari.Sax 1 B 


0070 


260 Sub OSC 


0150 


Uuh Formant 


0230 


Hard Clav A 


0310 


SlwPick70s C 


0390 


Precision Bs 


0470 


Bari.Sax 1 C 


0071 


Spct2 20 


0151 


Ac.Pno p A L 


0231 


Hard Clav B 


0311 


FstPick70s A 


0391 


Jz Bs Soft A 


0471 


Bari.Sax 2 A 


0072 


JD EML 5th 


0152 


Ac.Pno p A R 


0232 


Hard Clav C 


0312 


FstPick70s B 


0392 


Jz Bs Soft B 


0472 


Bari.Sax 2 B 


0073 


SBF Hrd Ld 1 


0153 


Ac.Pno p B L 


0233 


JD Clav 


0313 


FstPick70s C 


0393 


Jz Bs Soft C 


0473 


Bari.Sax 2 C 


0074 


SBF Hrd Ld 2 


0154 


Ac.Pno p B R 


0234 


Harpsi A 


0314 


Plk Strat A 


0394 


6-FngBsSft A 


0474 


Musette 


0075 


Digi Attack 


0155 


Ac.Pno p C L 


0235 


Harpsi B 


0315 


Plk Strat B 


0395 


6-FngBsSft B 


0475 


Harmonica A 


0076 


JD Fine Wine 


0156 


Ac.Pno p C R 


0236 


Harpsi C 


0316 


Plk Strat C 


0396 


6-FngBsSft C 


0476 


Harmonica B 


0077 


Digi Loop 1 


0157 


Ac.Pno f A L 


0237 


JD Full Draw 


0317 


Strat Mute A 


0397 


ThumbMtBs pA 


0477 


Harmonica C 


0078 


Digi Loop 2 


0158 


Ac.Pno f A R 


0238 


Org Basic 1 


0318 


Strat Mute B 


0398 


ThumbMtBs pB 


0478 


Blues G-harp 


0079 


JD MetalWind 


0159 


Ac.Pno f B L 


0239 


Org Basic 2 


0319 


Strat Mute C 


0399 


ThumbMtBs pC 


0479 


Flugel A 


0080 


Atmosphere 


0160 


Ac.Pno f B R 


0240 


Ballad Org 


0320 


Funk Gtr A 


0400 


ThumbMtBs f A 


0480 


Flugel B 






202 




JUNO-G_e.book 203 '^-y 2006^2^130 ^BIH ^1»2a$445j- 



Waveform List 



No. 


Wave Name 


No. 


Wave Name 


No. 


Wave Name 


No. 


Wave Name 


No. 


Wave Name 


No. 


Wave Name 


0481 


Flugel C 


0561 


Full Str C L 


0641 


JD Nasty 


0721 


Drive Hit 


0801 


Power Kick 


0881 


Dry Snr f 


0482 


Trumpet A 


0562 


Full Str C R 


0642 


Fat SparkVox 


0722 


Filtered Hit 


0802 


R&B Kick L 


0882 


Ballad Snr 


0483 


Trumpet B 


0563 


ChmbrStrAtkA 


0643 


JD Spark Vox 


0723 


Mild Hit 


0803 


R&B Kick R 


0883 


Light Snr p 


0484 


Trumpet C 


0564 


ChmbrStrAtkB 


0644 


JD Cutters 


0724 


Narrow Hit 1 


0804 


Rk CmpKick L 


0884 


Light Snr f 


0485 


Wide Tp A 


0565 


ChmbrStrAtkC 


0645 


JD Rattles 


0725 


Narrow Hit 2 


0805 


Rk CmpKick R 


0885 


Light Snr ff 


0486 


Wide Tp B 


0566 


ChmbrStrRevA 


0646 


Xylo Seq. 


0726 


Euro Hit 


0806 


MaxLow Kickl 


0886 


Light SnrRim 


0487 


Wide Tp C 


0567 


ChmbrStrRevB 


0647 


JD Tin Wave 


0727 


Dist Hit 


0807 


MaxLow Kick2 


0887 


Click Snr p 


0488 


Mute Tp A 


0568 


ChmbrStrRevC 


0648 


JD Anklungs 


0728 


Thin Beef 


0808 


MaxLow Kicks 


0888 


Click Snr f 


0489 


Mute Tp B 


0569 


Vis Fizz A 


0649 


JD Shami 


0729 


Tao Hit 


0809 


Dist Kick 


0889 


Click Snr ff 


0490 


Mute Tp C 


0570 


Vis Fizz B 


0650 


SynBassClick 


0730 


Smear Hit 1 


0810 


FB Kick 


0890 


Rock Snr p 


0491 


Trombone A 


0571 


Vis Fizz C 


0651 


JD EP Atk 


0731 


Smear Hit 2 


0811 


Rough Kickl 


0891 


Rock Snr mf 


0492 


Trombone B 


0572 


VlsPizzRev A 


0652 


EP Release 


0732 


LoFi Min Hit 


0812 


Rough Kick2 


0892 


Rock Snr f 


0493 


Trombone C 


0573 


VlsPizzRev B 


0653 


Org Click 1 


0733 


Orch. Hit 


0813 


Rough Kicks 


0893 


Rock Rim p 


0494 


Tbn mf A 


0574 


VlsPizzRev C 


0654 


Org Click 2 


0734 


Punch Hit 


0814 


Click Kick 


0894 


Rock Rim mf 


0495 


Tbnmf B 


0575 


Vcs Fizz A 


0655 


Org Click 3 


0735 


O'Skool Hit 


0815 


Pick Kick 


0895 


Rock Rim f 


0496 


TbnmfC 


0576 


Vcs Fizz B 


0656 


Org Click 4 


0736 


Philly Hit 


0816 


Back Kick 


0896 


Reg.SnrGst L 


0497 


Tuba A 


0577 


Vcs Fizz C 


0657 


Org Click 5 


0737 


Metal Vox Wl 


0817 


Vinyl Kick 


0897 


Reg.SnrGst R 


0498 


TubaB 


0578 


VcsPizzRev A 


0658 


Org Leakage 


0738 


Metal Vox LI 


0818 


Low Kick 1 


0898 


Rock Snr Gst 


0499 


TubaC 


0579 


VcsFizzRev B 


0659 


MG Noise Fx 


0739 


Metal Vox W2 


0819 


Boys Kick 


0899 


Sft Snr Gst 


0500 


Sft F.Horn A 


0580 


VcsPizzRev C 


0660 


JD Sm IVIetal 


0740 


Metal Vox L2 


0820 


Hippie Kick 


0900 


Jazz Snr p 


0501 


Sft F.Horn B 


0581 


PizzyTechno 


0661 


JDStrikePole 


0741 


Metal Vox W3 


0821 


Frenzy Kick 


0901 


Jazz Snr mf 


0502 


Sft F.Horn C 


0582 


Female Ahs A 


0662 


Ice Crash 


0742 


Metal Vox L3 


0822 


PlasticKickl 


0902 


Jazz Snr f 


0503 


French Hm A 


0583 


Female Ahs B 


0663 


JD Switch 


0743 


Scratch 1 


0823 


Swallow Kick 


0903 


Jazz Snr ff 


0504 


French Hm C 


0584 


Female Ahs C 


0664 


JD Tuba Slap 


0744 


Scratch 2 


0824 


Neck Kick 


0904 


Jazz I^m p 


0505 


F.HornSect A 


0585 


Female Oos A 


0665 


JD Plink 


0745 


Scratch 3 


0825 


70's Kick 


0905 


Jazz I^m mf 


0506 


F.HornSect B 


0586 


Female Oos B 


0666 


JD Plunk 


0746 


Scratch 4 


0826 


Skool Kick 


0906 


Jazz I^m f 


0507 


F.HornSect C 


0587 


Female Oos C 


0667 


TVF Trigger 


0747 


Scratch 5 


0827 


Dance Kick 


0907 


Jazz l^m ff 


0508 


Tp Section A 


0588 


Male Aahs A 


0668 


Cutting Nz 


0748 


Scratch 6 


0828 


HipHop Kickl 


0908 


Jz Brsh Slap 


0509 


Tp Section B 


0589 


Male Aahs B 


0669 


Ac.Bass Body 


0749 


Scratch 7 


0829 


HipHop Kick2 


0909 


Jz Brsh Swsh 


0510 


Tp Section C 


0590 


Male Aahs C 


0670 


Flute Pad Nz 


0750 


Scratch 8 


0830 


Pin Kick 


0910 


Swish&Turn p 


0511 


OctBrs p A L 


0591 


Jazz Doos A 


0671 


Applause 


0751 


Scratch 9 


0831 


Low Kick 2 


0911 


Swish&Turn f 


0512 


OctBrs p A R 


0592 


Jazz Doos B 


0672 


River 


0752 


Scratch 10 


0832 


Low Kick 3 


0912 


Snr Roll 


0513 


OctBrs p B L 


0593 


Jazz Doos C 


0673 


Thunder 


0753 


MG Zap 1 


0833 


AnalogKick 1 


0913 


Snr Roll Lp 


0514 


OctBrs p B R 


0594 


Jz Doos Lp A 


0674 


Monsoon 


0754 


MG Zap 2 


0834 


PlasticKick2 


0914 


Soft Jz Roll 


0515 


OctBrs p C L 


0595 


Jz Doos Lp B 


0675 


Stream 


0755 


MG Zap 3 


0835 


PlasticKickS 


0915 


BrushRoU Lp 


0516 


OctBrs p C R 


0596 


Jz Doos Lp C 


0676 


Bubble 


0756 


MG Zap 4 


0836 


TR909 Kick 1 


0916 


GoodOld Snrl 


0517 


OctBrs f A L 


0597 


Gospel Hum A 


0677 


Bird Song 


0757 


MG Zap 5 


0837 


TR909 Kick 2 


0917 


GoodOld Snr2 


0518 


OctBrs f A R 


0598 


Gospel Hum B 


0678 


Dog Bark 


0758 


MG Zap 6 


0838 


AnalogKick 2 


0918 


GoodOld Snr3 


0519 


OctBrs f B L 


0599 


Gospel Hum C 


0679 


Gallop 


0759 


MG Zap 7 


0839 


TR909 Kick 3 


0919 


GoodOld Snr4 


0520 


OctBrs f B R 


0600 


Soprano Vox 


0680 


Vint.Phone 


0760 


MG Zap 8 


0840 


AnalogKick 3 


0920 


GoodOld Snr5 


0521 


OctBrsfCL 


0601 


Kalimba 


0681 


Office Phone 


0761 


MG Zap 9 


0841 


AnalogKick 4 


0921 


GoodOld Snr6 


0522 


OctBrsfCR 


0602 


JD Klmba Atk 


0682 


Mobile Phone 


0762 


MG Zap 10 


0842 


AnalogKick 5 


0922 


Dirty Snr 1 


0523 


Brs Fall 1 L 


0603 


JD Wood Crak 


0683 


Door Creak 


0763 


MG Zap 11 


0843 


AnalogKick 6 


0923 


Dirty Snr 2 


0524 


Brs Fall 1 R 


0604 


JD Gamelan 1 


0684 


Door Slam 


0764 


MG Blip 


0844 


TR606DstKick 


0924 


Dirty Snr 3 


0525 


Brs Fall 2 L 


0605 


JD Gamelan 2 


0685 


Car Engine 


0765 


Beam HiQ 


0845 


TR808 Kick 


0925 


Dirty Snr 4 


0526 


Brs Fall 2 R 


0606 


JD Gamelan 3 


0686 


Car Slip 


0766 


MG Attack 


0846 


TR909Kick4 


0926 


Dirty Snr 5 


0527 


OrchUnis A L 


0607 


JD Log Drum 


0687 


Car Pass 


0767 


Syn Low Atkl 


0847 


TR909 Kick 5 


0927 


Dirty Snr 6 


0528 


OrchUnis A R 


0608 


JD Hooky 


0688 


Crash Seq. 


0768 


Syn Low Atk2 


0848 


SH32 Kick 


0928 


Dirty Snr 7 


0529 


OrchUnis B L 


0609 


JD Tabla 


0689 


Gun Shot 


0769 


Syn Hrd Atkl 


0849 


TR707 Kick 


0929 


Dirty Snr 8 


0530 


OrchUnis B R 


0610 


JD Xylo 


0690 


Siren 


0770 


Syn Hrd Atk2 


0850 


TR909 Kick 6 


0930 


Dirty Snr 9 


0531 


OrchUnis C L 


0611 


Marimba 


0691 


Train Pass 


0771 


Syn Hrd Atk3 


0851 


Roll Kick 


0931 


Dirty Snr 10 


0532 


OrchUnis C R 


0612 


Vibraphone 


0692 


Airplane 


0772 


Syn Hrd Atk4 


0852 


Reg.Snrl p L 


0932 


Grit Snr 1 


0533 


Violin Vib A 


0613 


Glocken 


0693 


Space Voyage 


0773 


Syn Mtl Atkl 


0853 


Reg.Snrl p R 


0933 


Grit Snr 2 


0534 


Violin Vib B 


0614 


Steel Drums 


0694 


Blow Loop 


0774 


Syn Mtl Atk2 


0854 


Reg.Snrlmf L 


0934 


Grit Snr 3 


0535 


Violin Vib C 


0615 


JD Pole Lp 


0695 


Laugh 


0775 


Syn Swt Atkl 


0855 


Reg.Snrlmf R 


0935 


Grit Snr 4 


0536 


Violin A 


0616 


JD BottleHit 


0696 


Scream 


0776 


Syn Swt Atk2 


0856 


Reg.Snrl f L 


0936 


LoBit SnrFlm 


0537 


Violin B 


0617 


D-50 Bell A 


0697 


Punch 


0777 


Syn Swt Atk3 


0857 


Reg.Snrl f R 


0937 


Lo-Bit Snr 1 


0538 


Violin C 


0618 


D-50 Bell B 


0698 


Heartbeat 


0778 


Syn Swt Atk4 


0858 


Reg.SnrlffL 


0938 


Lo-Bit Snr 2 


0539 


Cello Vib A 


0619 


D-50 Bell C 


0699 


Footsteps 


0779 


Syn Swt Atk5 


0859 


Reg.SnrlffR 


0939 


Lo-Bit Snr 3 


0540 


Cello Vib B 


0620 


D-50 Bell Lp 


0700 


Machine Gun 


0780 


Syn Swt Atk6 


0860 


Reg.Snr2 p L 


0940 


BmbCmp Snr 


0541 


Cello Vib C 


0621 


Agogo Bell 


0701 


Laser 


0781 


Syn Swt Atk7 


0861 


Reg.Snr2 p R 


0941 


MrchCmp Snr 


0542 


Cello A 


0622 


Finger Bell 


0702 


Thunder Lp 


0782 


Reg.Kick p L 


0862 


Reg.Snr2 f L 


0942 


Frenzy Snr 1 


0543 


Cello B 


0623 


JD Cowbell 


0703 


Ac.Bass Nz 1 


0783 


Reg.Kick p R 


0863 


Reg.Snr2 f R 


0943 


Frenzy Snr 2 


0544 


Cello C 


0624 


Tubular Bell 


0704 


Ac.Bass Nz 2 


0784 


Reg.Kick f L 


0864 


Reg.Snr2ffL 


0944 


Slap Snr 1 


0545 


VI Sect. A L 


0625 


Church Bell 


0705 


E.Bass Nz 1 


0785 


Reg.Kick fR 


0865 


Reg.Snr2ffR 


0945 


Keen Snr 1 


0546 


VI Sect. A R 


0626 


Mild CanWave 


0706 


E.Bass Nz 2 


0786 


Reg.Kick ffL 


0866 


Reg.SnrFlm L 


0946 


Reggae Snr 


0547 


VI Sect. B L 


0627 


JD Crystal 


0707 


E.Bass Slide 


0787 


Reg.Kick ffR 


0867 


Reg.SnrFlm R 


0947 


DR660 Snr 


0548 


VI Sect. B R 


0628 


Bell Organ 


0708 


DistGtr Nz 1 


0788 


Rock Kick p 


0868 


Amb.Snrl p L 


0948 


Pop Snr p 


0549 


VI Sect. C L 


0629 


Old DigiBell 


0709 


DistGtr Nz 2 


0789 


Rock Kick f 


0869 


Amb.Snrl p R 


0949 


Pop Snr f 


0550 


VI Sect. C R 


0630 


JD Bell Wave 


0710 


DistGtr Nz 3 


0790 


Jazz Kick p 


0870 


Amb.Snrl f L 


0950 


Pop Snr Rim 


0551 


Vc Sect. A L 


0631 


TinyBellWave 


0711 


GtrStroke Nz 


0791 


Jazz Kick mf 


0871 


Amb.Snrl f R 


0951 


Med Snare 


0552 


Vc Sect. A R 


0632 


Vib Wave 


0712 


Gtr Fret Nzl 


0792 


Jazz Kick f 


0872 


Amb.Snr2 p L 


0952 


Jngl pkt Snr 


0553 


Vc Sect. B L 


0633 


JD Brt Digi 


0713 


Gtr Fret Nz2 


0793 


Dry Kick 1 


0873 


Amb.Snr2 p R 


0953 


Pocket Snr 


0554 


Vc Sect. B R 


0634 


Med Digi 


0714 


Gtr Fret Nz3 


0794 


Tight Kick 1 


0874 


Amb.Snr2 f L 


0954 


Flange Snr 


0555 


Vc Sect. C L 


0635 


Bagpipe 


0715 


ClassicHseHt 


0795 


Tight Kick 2 


0875 


Amb.Snr2 f R 


0955 


Slap Snr 2 


0556 


Vc Sect. C R 


0636 


Digital Vox 


0716 


OrangeHit 1 


0796 


Old Kick 


0876 


Piccolo Snr 


0956 


Analog Snr 1 


0557 


Full Str A L 


0637 


JD Wally Wave 


0717 


OrangeHit 2 


0797 


Jz Dry Kick 


0877 


Maple Snr 


0957 


Analog Snr 2 


0558 


Full Str A R 


0638 


JD Brusky Lp 


0718 


OrangeHit 3 


0798 


Bright Kick 


0878 


Natural Snrl 


0958 


Analog Snr 3 


0559 


Full Str B L 


0639 


Bright Form 


0719 


7th Hit 


0799 


Dry Kick 2 


0879 


Natural Snr2 


0959 


Jam Snr 


0560 


Full Str B R 


0640 


Mild Form 


0720 


Brassy Hit 


0800 


Dry Kick 3 


0880 


Dry Snr p 


0960 


Back Snr 






203 




_e.book 204'^-y 2006^2^130 ^BIH ^lS2a$445J- 



Waveform List 



No. 


Wave Name 


No. 


Wave Name 


No. 


Wave Name 


No. 


Wave Name 


0961 


Keen Snr 2 


1041 


Sharp Hi Tom 


1121 


Splash Cym 


1201 


Cabasa Cut 


0962 


Boys Snr 1 


1042 


Dry Lo Tom 


1122 


Jazz Crash 


1202 


Maracas 


0963 


Slap Snr 3 


1043 


Dry Hi Tom 


1123 


TR909 Crash 


1203 


808 Maracas 


0964 


Neck Snr 


1044 


TR909 Tom 


1124 


TR606 Cym 


1204 


R8 Shaker 1 


0965 


Artful Snr 


1045 


TR909 DstTom 


1125 


Ride Cymbal 


1205 


R8 Shaker 2 


0966 


Pin Snr 


1046 


TR808 Tom 


1126 


Ride Bell 


1206 


Shaker 1 


0967 


Chemical Snr 


1047 


TR606 Tom 


1127 


Rock Rd Cup 


1207 


Shaker 2 


0968 


Sizzle Snr 


1048 


Deep Tom 


1128 


Rock Rd Edge 


1208 


Bone Shake 


0969 


Tiny Snare 


1049 


Reg.CHH 1 p 


1129 


Jazz Ride p 


1209 


CR78 Guiro 


0970 


R&B Snare 1 


1050 


Reg.CHH 1 mf 


1130 


Jazz Ride mf 


1210 


Guiro 1 


0971 


R&B Snare 2 


1051 


Reg.CHH 1 f 


1131 


TR909 Ride 


1211 


Guiro 2 


0972 


Cross Snr 


1052 


Reg.CHH 1 ff 


1132 


TR707 Ride 


1212 


Guiro Long 


0973 


Grave Snr 


1053 


Reg.CHH 2 mf 


1133 


China Cymbal 


1213 


TR727Quijada 


0974 


Boys Snr 2 


1054 


Reg.CHH 2 f 


1134 


Concert Cym 


1214 


Vibraslap 


0975 


Boys Snr 3 


1055 


Reg.CHH 2 ff 


1135 


Hand Clap 


1215 


Tamborine 1 


0976 


Low Down Snr 


1056 


Reg.PHH mf 


1136 


Club Clap 


1216 


Tamborine 2 


0977 


TR909 Snr 1 


1057 


Reg.PHH f 


1137 


Short Clap 


1217 


Tamborine 3 


0978 


TR909 Snr 2 


1058 


Reg.OHH mf 


1138 


Real Clap 


1218 


CR78 Tamb 


0979 


TR909 Snr 3 


1059 


Reg.OHH f 


1139 


Bright Clap 


1219 


TablaBayam 1 


0980 


TR909 Snr 4 


1060 


Reg.OHH ff 


1140 


R8 Clap 


1220 


TablaBayam 2 


0981 


TR909 Snr 5 


1061 


Rock CHHl mf 


1141 


Gospel Clap 


1221 


TablaBayam 3 


0982 


TR909 Snr 6 


1062 


Rock CHHl f 


1142 


Amb Clap 


1222 


TablaBayam 4 


0983 


TR808 Snr 1 


1063 


Rock CHH2 mf 


1143 


Hip Clap 


1223 


TablaBayam 5 


0984 


TR808 Snr 2 


1064 


Rock CHH2 f 


1144 


Funk Clap 


1224 


TablaBayam 6 


0985 


TR808 Snr 3 


1065 


Rock PHH 


1145 


Group Clap 


1225 


TablaBayam 7 


0986 


TR808 Snr 4 


1066 


Rock OHH 


1146 


Claptail 


1226 


Cajon 1 


0987 


Lite Snare 


1067 


Lo-Bit CHH 1 


1147 


Planet Clap 


1227 


Cajon 2 


0988 


TR808 Snr 5 


1068 


Lo-Bit CHH 2 


1148 


Royal Clap 


1228 


Cajon 3 


0989 


TR808 Snr 6 


1069 


Lo-Bit CHH 3 


1149 


Happy Clap 


1229 


Udo 


0990 


TR808 Snr 7 


1070 


Lo-Bit CHH 4 


1150 


TR808 Clap 1 


1230 


Udu Pot Hi 


0991 


TR606 Snr 1 


1071 


Lo-Bit CHH 5 


1151 


Disc Clap 


1231 


Udu Pot Sip 


0992 


TR606 Snr 2 


1072 


Modern CHH 


1152 


Dist Clap 


1232 


SprgDrm Hit 


0993 


CR78 Snare 


1073 


HipHop CHH 1 


1153 


Old Clap 


1233 


Op Pandeiro 


0994 


Urbn Sn Roll 


1074 


Urban CHH 


1154 


TR909 Clap 1 


1234 


Mt Pandeiro 


0995 


Jngl SnrRoU 


1075 


Bang CHH 


1155 


TR909 Clap 2 


1235 


Cuica 


0996 


Reg.Stick L 


1076 


LowDwn CHH 


1156 


TR808 Clap 2 


1236 


Timpani p 


0997 


Reg.Stick R 


1077 


Disc CHH 


1157 


TR707 Clap 


1237 


Timpani f 


0998 


Soft Stick 


1078 


Club CHH 1 


1158 


Cheap Clap 


1238 


Timpani Roll 


0999 


Hard Stick 


1079 


HipHop CHH 2 


1159 


Finger Snap 


1239 


Timpani Lp 


1000 


Wild Stick 


1080 


TR909 CHH 1 


1160 


Club FinSnap 


1240 


ConcertBD p 


1001 


Rock Stick 


1081 


TR909 CHH 2 


1161 


Single Snap 


1241 


ConcertBD f 


1002 


Lo-Bit Stk 1 


1082 


Shaky CHH 


1162 


Snap 


1242 


ConcertBD ff 


1003 


Lo-Bit Stk 2 


1083 


Club CHH 2 


1163 


Group Snap 


1243 


ConcertBD Lp 


1004 


Lo-Bit Stk 3 


1084 


TR808 CHH 1 


1164 


Vox Kick 1 


1244 


Triangle 1 


1005 


Lo-Bit Stk 4 


1085 


TR808 CHH 2 


1165 


Vox Kick 2 


1245 


Triangle 2 


1006 


Dry Stick 1 


1086 


TR606 CHH 1 


1166 


VoxKickSweep 


1246 


Tibet Cymbal 


1007 


Dry Stick 2 


1087 


TR606 CHH 2 


1167 


Vox Snare 1 


1247 


Slight Bell 


1008 


Dry Stick 3 


1088 


TR606 DstCHH 


1168 


Vox Snare 2 


1248 


Wind Chime 


1009 


Dry Stick 4 


1089 


Lite CHH 


1169 


Vox Hihat 1 


1249 


Crotale 


1010 


Dry Stick 5 


1090 


CR78 CHH 


1170 


Vox Hihat 2 


1250 


R8 Click 


1011 


R8 Comp Rim 


1091 


DR5S CHH 


1171 


Vox Hihat 3 


1251 


Metro Bell 


1012 


R&B Rim 1 


1092 


Neck CHH 


1172 


Vox Cymbal 


1252 


Metro Click 


1013 


R&B Rim 2 


1093 


Dance CHH 


1173 


Pa! 


1253 


MC500 Beep 1 


1014 


R&B Rim 3 


1094 


Street PHH 


1174 


Chiki! 


1254 


MC500 Beep 2 


1015 


Neck Rim 


1095 


Swallow PHH 


1175 


Cowbell 


1255 


DR202 Beep 


1016 


Swag Rim 


1096 


Hip PHH 


1176 


Cowbell Mute 


1256 


Low Sawl 


1017 


Step Rim 


1097 


TR909 PHH 1 


1177 


Wood Block 


1257 


Low Sawl inv 


1018 


R&B Rim 4 


1098 


TR909 PHH 2 


1178 


Claves 


1258 


Low Saw2 


1019 


Street Rim 


1099 


TR808 PHH 


1179 


TR808 Claves 


1259 


Low Pulse 1 


1020 


Regular Rim 


1100 


TR606 PHH 1 


1180 


CR78 Beat 


1260 


Low Pulse 2 


1021 


TR909 Rim 


1101 


TR606 PHH 2 


1181 


Castanet 


1261 


Low Square 


1022 


TR808 Rim 


1102 


Lo-Bit PHH 


1182 


Whistle 


1262 


Low Sine 


1023 


Reg.F.Tom p 


1103 


Lo-Bit OHH 1 


1183 


Bongo Hi Mt 


1263 


Low Triangle 


1024 


Reg.F.Tom f 


1104 


Lo-Bit OHH 2 


1184 


Bongo Hi Sip 


1264 


Low White Nz 


1025 


Reg.L.Tom p 


1105 


Lo-Bit OHH 3 


1185 


Bongo Lo Sip 


1265 


Low Pink Nz 


1026 


Reg.L.Tom f 


1106 


Neck OHH 


1186 


Bongo Hi Op 


1266 


DC 


1027 


Reg.M.Tom p 


1107 


Bang OHH 


1187 


Bongo Lo Op 


1267 


Reverse Cym 


1028 


Reg.M.Tom f 


1108 


HipHop OHH 


1188 


Conga Hi Mt 






1029 


Reg.H.Tom p 


1109 


TR909 OHH 1 


1189 


Conga Lo Mt 






1030 


Reg.H.Tom f 


1110 


TR909 OHH 2 


1190 


Conga Hi Sip 






1031 


Reg.L.TomFlm 


1111 


TR808 OHH 1 


1191 


Conga Lo Sip 




1032 


Reg.M.TomFlm 


1112 


TR808 OHH 2 


1192 


Conga Hi Op 






1033 


Reg.H.TomFlm 


1113 


TR606 OHH 


1193 


Conga Lo Op 






1034 


Jazz Lo Tom 


1114 


Lite OHH 


1194 


Conga Sip Op 






1035 


Jazz Mid Tom 


1115 


CR78 OHH 


1195 


Conga Efx 






1036 


Jazz Hi Tom 


1116 


Crash Cyml p 


1196 


Conga Thumb 






1037 


Jazz Lo Flm 


1117 


Crash Cyml f 


1197 


Timbale 1 






1038 


Jazz Mid Flm 


1118 


Crash Cym 2 


1198 


Timbale 2 






1039 


Jazz Hi Flm 


1119 


Rock Crash 1 


1199 


Cabasa Up 






1040 


Sharp Lo Tom 


1120 


Rock Crash 2 


1200 


Cabasa Down 








204 




JUNO-G_e.book 205 '^-y 2006^2^130 ^BIH ^lt2a$445j- 




Arpeggio Style List 



PRST (Preset Group) 
USER (User Group) 

* Arpeggio Styles are common between Preset Group and User Group. 



No. 


Name 


001 


Basic 1 (A) 


002 


Basic 2 (A) 


003 


Basic 3 (A) 


004 


Basic 4 (A) 


005 


Basic 5 (A) 


006 


Basic 6 (A) 


007 


Seq Ptn 1 (2) 


008 


Seq Ptn 2 (2) 


009 


Seq Ptn 3 (2) 


010 


Seq Ptn 4 (2) 


Oil 


Seq Ptn 5 (2) 


012 


Seq Ptn 6 (3) 


013 


Seq Ptn 7 (3) 


014 


Seq Ptn 8 (3) 


015 


Seq Ptn 9 (3) 


016 


Seq Ptn 10 (3) 


017 


Seq Ptn 11 (3) 


018 


Seq Ptn 12 (3) 


019 


Seq Ptn 13 (3) 


020 


Seq Ptn 14 (3) 


021 


Seq Ptn 15 (3) 


022 


Seq Ptn 16 (3) 


023 


Seq Ptn 17 (3) 


024 


Seq Ptn 18 (4) 


025 


Seq Ptn 19 (4) 


026 


Seq Ptn 20 (4) 


027 


Seq Ptn 21 (4) 


028 


Seq Ptn 22 (4) 


029 


Seq Ptn 23 (4) 


030 


Seq Ptn 24 (4) 


031 


Seq Ptn 25 (4) 


032 


Seq Ptn 26 (4) 


033 


Seq Ptn 27 (4) 


034 


Seq Ptn 28 (4) 


035 


Seq Ptn 29 (4) 


036 


Seq Ptn 30 (5) 


037 


Seq Ptn 31 (5) 


038 


Seq Ptn 32 (6) 


039 


Seq Ptn 33 (P) 


040 


Seq Ptn 34 (P) 


041 


Seq Ptn 35 (P) 


042 


Seq Ptn 36 (P) 


043 


Seq Ptn 37 (P) 


044 


Seq Ptn 38 (P) 


045 


Seq Ptn 39 (P) 


046 


Seq Ptn 40 (P) 


047 


Seq Ptn 41 (P) 


048 


Seq Ptn 42 (P) 


049 


Seq Ptn 43 (P) 


050 


Seq Ptn 44 (P) 


051 


Seq Ptn 45 (P) 


052 


Seq Ptn 46 (P) 


053 


Seq Ptn 47 (P) 


054 


Seq Ptn 48 (P) 


055 


Seq Ptn 49 (P) 


056 


Seq Ptn 50 (P) 


057 


Seq Ptn 51 (P) 


058 


Seq Ptn 52 (P) 


059 


Seq Ptn 53 (P) 


060 


Seq Ptn 54 (P) 



No. 

061 
062 
063 
064 
065 
066 
067 
068 
069 
070 
071 
072 
073 
074 
075 
076 
077 
078 
079 
080 



081 
082 
083 
084 
085 
086 
087 



090 



091 
092 
093 
094 
095 
096 
097 
098 
099 
100 
101 
102 
103 
104 
105 
106 
107 
108 
109 
110 
111 
112 
113 
114 
115 
116 
117 
118 
119 
120 



Name 

Seq Ptn 55 (P) 
Seq Ptn 56 (P) 
Seq Ptn 57 (P) 
Seq Ptn 58 (P) 
Seq Ptn 59 (P) 
Seq Ptn 60 (P) 
Bassline 1 (1) 
Bassline 2 (1) 
Bassline 3 (1) 
Bassline 4 (1) 
Bassline 5 (1) 
Bassline 6 (1) 
Bassline 7 (1) 
Bassline 8 (1) 
Bassline 9 (1) 
Bassline 10 (2) 
Bassline 11 (2) 
Bassline 12 (2) 
Bassline 13 (2) 
Bassline 14 (2) 



Bassline 
Bassline 



Bassline 
Bassline 



Bassline 
Bassline 



Bassline 
Bassline 



Bassline 
Bassline 



■ 15 (2) 
' 16 (3) 
!17(3) 
' 18 (3) 
' 19 (3) 
! 20 (3) 
! 21 (3) 

■ 22 (P) 

■ 23 (P) 
! 24 (P) 



Bassline 25 (P) 
Bassline 26 (P) 
Bassline 27 (P) 
Bassline 28 (P) 
Bassline 29 (P) 
Bassline 30 (P) 
Bassline 31 (P) 
Bassline 32 (P) 
Bassline 33 (P) 
Bassline 34 (P) 
Bassline 35 (P) 
Bassline 36 (P) 
Bassline 37 (P) 
Bassline 38 (P) 
Bassline 39 (P) 
Bassline 40 (P) 
Bassline 41 (P) 
Sliced 1 (A) 
Sliced 2 (A) 
Sliced 3 (A) 
Sliced 4 (A) 
Sliced 5 (A) 
Sliced 6 (A) 
Sliced 7 (A) 
Sliced 8 (A) 
Sliced 9 (A) 
Sliced 10 (A) 
Gtr Arp 1 (4) 
Gtr Arp 2 (5) 
Gtr Arp 3 (6) 



No. 


Name 


121 


Gtr Backing 1(A) 


122 


Gtr Backing 2(A) 


123 


Key Bckngl (A) 


124 


Key Bckng2 (A) 


125 


Key Bckng3 (1-3) 


126 


1/1 Note Trg(l) 


127 


1/2 Note Trg(l) 


128 


1/4 Note Trg(l) 



Recommended number of notes to press 

(1) - (6): One to six notes 

(1-3): One bass note + three-note chord 

(A): As desired 

(P): One note, with Motif (p. 75) set to "Phrase" 




205 




JUNO-G_e.book 206 '^-y 2006^2^130 ^BIH ^lt2a$445j- 




Rhythm Group List 



PRST (Preset Group) 
USER (User Group) 

* Rhythm Groups are common between Preset Group and User Group. 



No. 


Name 


Recommended Rhythm Set 


001 


Popl 


PRSTiOOl Standard Kitl 


002 


Pop 2 


PRST:001 Standard Kitl 


003 


Pop 3 


PRST:001 Standard Kitl 


004 


Pop 4 


PRST:001 Standard Kitl 


005 


Pop 5 


PRST:001 Standard Kitl 


006 


Pop 6 


PRST:001 Standard Kitl 


007 


Pop 7 


PRST:002 Standard Kit2 


008 


Pops 


PRST:002 Standard Kit2 


009 


Pop 9 


PRST:002 Standard Kit2 


010 


Rockl 


PRST:004 Rock Kit 1 


Oil 


Rock 2 


PRST:005 Rock Kit 2 


012 


Funk 


PRST:001 Standard Kitl 


013 


Fusion 


PRST:001 Standard Kitl 


014 


Jazz 


PRST:006 Brush Jz Kit 


015 


Bossa 


PRST:002 Standard Kit2 


016 


Hip Hop 1 


PRST:012 HipHop&Latin 


017 


Hip Hop 2 


PRST:011HipHopKit2 


018 


R&Bl 


PRST:017 4 Kit MIX 


019 


R&B2 


PRST:015 HiFi R&B Kit 


020 


Reggae 


PRST:018 Kit-Euro:POP 


021 


Trance 1 


PRST:021 Machine Kit2 


022 


Trance 2 


PRST:018 Kit-Euro:POP 


023 


Techno 1 


PRST:022 ArtificalKit 


024 


Techno 2 


PRST:034 PassionDrums 


025 


House 1 


PRST:019 House Kit 


026 


House 2 


PRST:018 Kit-Euro:POP 


027 


Drum'n Bs 


PRST:003 Standard Kit3 


028 


BreakBeats 


PRST:012 HipHop&Latin 


029 


Disco 


PRST:003 Standard Kit3 


030 


Nu Technica 


PRST:020 Nu Technica 


031 


Tabla Phr 


PRST:032 Scrh&Voi&Wld 


032 


Perc Phr 


PRST:031 Percussion 




206 




JUNO-G_e.book 207 '^-y 2006^2^130 ^BIH ^lt2a$445j- 




Rhythm Pattern List 



PRST (Preset Group) 
USER (User Group) 

* Rhythm Patterns are common between Preset Group and User Group. 

* Recommended tempo is shown in parentheses ( ) 



No. 


Name 


Recommended 
Rhythm Set 


No. 


Name 


Recommended 
Rhythm Set 


No. 


Name 


Recommended 
Rhythm Set 


001 
002 


Pop 1-1 (120) 
Pop 1-2 (120) 


PRSTrOOl 
Standard Kitl 


057 
058 


Pop 8-1 (130) 
Pop 8-2 (130) 


PRST:002 
Standard Kit2 


113 

114 


Bossa 1 (160) 
Bossa 2 (160) 


PRST:002 
Standard Kit2 


003 


Pop 1-3 (120) 




059 


Pop 8-3 (130) 




115 


Bossa 3 (160) 




004 


Pop 1-4 (120) 




060 


Pop 8-4 (130) 




116 


Bossa 4 (160) 




005 


Pop 1-5 (120) 




061 


Pop 8-5 (130) 




117 


Bossa 5 (160) 




006 


Pop 1-6 (120) 




062 


Pop 8-6 (130) 




118 


Bossa 6 (160) 




007 


Pop 1-7 (120) 




063 


Pop 8-7 (130) 




119 


Bossa 7 (160) 




008 


Pop 1-8 (120) 




064 
065 
066 


Pop 8-8 (130) 
Pop 9-1 (125) 
Pop 9-2 (125) 


PRST:002 
Standard Kit2 


120 
121 
122 


Bossa 8 (160) 
HipHop 1-A (100) 
HipHop 1-B (105) 




009 
010 


Pop 2-1 (120) 
Pop 2-2 (120) 


PRST:001 
Standard Kitl 


PRST:012 
HipHop&Latin 


Oil 


Pop 2-3 (120) 




067 


Pop 9-3 (125) 




123 


HipHop 1-C (100) 




012 


Pop 2-4 (120) 




068 


Pop 9-4 (125) 




124 


HipHop 1-D (095) 




013 


Pop 2-5 (120) 




069 


Pop 9-5 (125) 




125 


HipHop 1-E (092) 




014 


Pop 2-6 (120) 




070 


Pop 9-6 (125) 




126 


HipHop 1-F (092) 




015 


Pop 2-7 (120) 




071 


Pop 9-7 (125) 




127 


HipHop 1-G (100) 




016 


Pop 2-8 (120) 




072 
073 
074 


Pop 9-8 (125) 
Rock 1-1 (120) 
Rock 1-2 (120) 


PRST:004 
Rock Kit 1 


128 
129 
130 


HipHop 1-H (097) 
HipHop 2-A (095) 
HipHop 2-B (095) 




017 
018 


Pop 3-1 (150) 
Pop 3-2 (150) 


PRST:001 
Standard Kitl 


PRSTiOll 
HipHop Kit 2 


019 


Pop 3-3 (150) 




075 


Rock 1-3 (120) 




131 


HipHop 2-C (095) 




020 


Pop 3-4 (150) 




076 


Rock 1-4 (120) 




132 


HipHop 2-D (095) 




021 


Pop 3-5 (150) 




077 


Rock 1-5 (120) 




133 


HipHop 2-E (095) 




022 


Pop 3-6 (150) 




078 


Rock 1-6 (120) 




134 


HipHop 2-F (095) 




023 


Pop 3-7 (150) 




079 


Rock 1-7 (120) 




135 


HipHop 2-G (095) 




024 


Pop 3-8 (150) 




080 
081 
082 


Rock 1-8 (120) 
Rock 2-1 (114) 
Rock 2-2 (114) 


PRST:005 
Rock Kit 2 


136 
137 
138 


HipHop 2-H (095) 
R&B 1-A (100) 
R&B 1-B (100) 




025 
026 


Pop 4-1 (120) 
Pop 4-2 (120) 


PRSTiOOl 
Standard Kitl 


PRST:017 
4 Kit MIX 


027 


Pop 4-3 (120) 




083 


Rock 2-3 (114) 




139 


R&B 1-C (100) 




028 


Pop 4-4 (120) 




084 


Rock 2-4 (114) 




140 


R&B 1-D (100) 




029 


Pop 4-5 (120) 




085 


Rock 2-5 (114) 




141 


R&B 1-E (100) 




030 


Pop 4-6 (120) 




086 


Rock 2-6 (114) 




142 


R&B 1-F (100) 




031 


Pop 4-7 (120) 




087 


Rock 2-7 (114) 




143 


R&B 1-G (100) 




032 


Pop 4-8 (120) 




088 


Rock 2-8 (114) 




144 


R&B 1-H (100) 




033 
034 


Pop 5-1 (103) 
Pop 5-2 (103) 


PRST:001 
Standard Kitl 


089 
090 


Funk 1 (115) 
Funk 2 (115) 


PRST:001 
Standard Kitl 


145 
146 


R&B 2-A (140) 
R&B 2-B (140) 


PRST:015 
HiFi R&B Kit 


035 


Pop 5-3 (103) 




091 


Funk 3 (115) 




147 


R&B 2-C (140) 




036 


Pop 5-4 (103) 




092 


Funk 4 (115) 




148 


R&B 2-D (140) 




037 


Pop 5-5 (103) 




093 


Funk 5 (115) 




149 


R&B 2-E (140) 




038 


Pop 5-6 (103) 




094 


Funk 6 (115) 




150 


R&B 2-F (140) 




039 


Pop 5-7 (103) 




095 


Funk 7 (115) 




151 


R&B 2-G (140) 




040 


Pop 5-8 (103) 




096 
097 
098 


Funk 8 (115) 
Fusion 1 (100) 
Fusion 2 (100) 


PRST:001 
Standard Kitl 


152 


R&B 2-H (140) 




041 
042 


Pop 6-1 (096) 
Pop 6-2 (096) 


PRST:001 
Standard Kitl 


153 
154 


Reggae A (105) 
Reggae B (094) 


PRST:018 
Kit-Euro:POP 


043 


Pop 6-3 (096) 




099 


Fusion 3 (100) 




155 


Reggae C (094) 




044 


Pop 6-4 (096) 




100 


Fusion 4 (100) 




156 


Reggae D (090) 




045 


Pop 6-5 (096) 




101 


Fusion 5 (100) 




157 


Reggae E (089) 




046 


Pop 6-6 (096) 




102 


Fusion 6 (100) 




158 


Reggae F (105) 




047 


Pop 6-7 (096) 




103 


Fusion 7 (100) 




159 


Reggae G (105) 




048 


Pop 6-8 (096) 




104 
105 
106 


Fusion 8 (100) 
Jazz 1 (136) 
Jazz 2 (136) 


PRST:006 
Brush Jz Kit 


160 
161 
162 


Reggae H (100) 
Trance 1-A (140) 
Trance 1-B (138) 




049 
050 


Pop 7-1 (104) 
Pop 7-2 (104) 


PRST:002 
Standard Kit2 


PRST;021 
Maclrine Kit2 


051 


Pop 7-3 (104) 




107 


Jazz 3 (136) 




163 


Trance 1-C (142) 




052 


Pop 7-4 (104) 




108 


Jazz 4 (136) 




164 


Trance 1-D (142) 




053 


Pop 7-5 (104) 




109 


Jazz 5 (136) 




165 


Trance 1-E (142) 




054 


Pop 7-6 (104) 




110 


Jazz 6 (136) 




166 


Trance 1-F (142) 




055 


Pop 7-7 (104) 




111 


Jazz 7 (136) 




167 


Trance 1-G (138) 




056 


Pop 7-8 (104) 




112 


Jazz 8 (136) 




168 


Trance 1-H (138) 
















207 




JUNO-G_e.book 208 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



Rhythm Pattern List 







No. 


Name 


Recommended 
Rhythm Set 


No. 


Name 


Recommended 
Rhythm Set 




169 
170 


Trance 2-A (143) 
Trance 2-B (142) 


PRST:018 
Kit-Euro:POP 


233 
234 


NuTeknica A (110) 
NuTeknica B (110) 


PRST:020 
Nu Technica 




171 


Trance 2-C (135) 




235 


NuTeknica C (110) 






172 


Trance 2-D (140) 




236 


NuTeknica D (110) 






173 


Trance 2-E (130) 




237 


NuTeknica E (110) 






174 


Trance 2-F (154) 




238 


NuTeknica F (110) 






175 


Trance 2-G (140) 




239 


NuTeknica G (110) 






176 


Trance 2-H (138) 




240 


NuTeknica H (110) 






177 
178 


Techno 1-A (132) 
Techno 1-B (142) 


PRST:022 
ArtificalKit 


241 
242 


Tabla Phr A (120) 
Tabla Phr B (120) 


PRST:032 
Scrh&Voi&Wld 




179 


Techno 1-C (138) 




243 


Tabla Phr C (120) 






180 


Techno 1-D (141) 




244 


Tabla Phr D (120) 






181 


Techno 1-E (136) 




245 


Tabla Phr E (120) 






182 


Techno 1-F (143) 




246 


Tabla Phr F (120) 






183 


Techno 1-G (140) 




247 


Tabla Phr G (120) 






184 


Techno 1-H (140) 




248 


Tabla Phr H (120) 






185 
186 


Techno 2-A (132) 
Techno 2-B (126) 


PRST:034 
PassionDrums 


249 
250 


Perc Phr A (120) 
Perc Phr B (120) 


PRST:031 
Percussion 




187 


Techno 2-C (128) 




251 


Perc Phr C (120) 






188 


Techno 2-D (128) 




252 


Perc Phr D (120) 






189 


Techno 2-E (128) 




253 


Perc Phr E (120) 






190 


Techno 2-F (130) 




254 


Perc Phr F (120) 






191 


Techno 2-G (134) 




255 


Perc Phr G (120) 






192 


Techno 2-H (130) 




256 


Perc Phr H (120) 






193 
194 


House 1-A (126) 
House 1-B (126) 


PRST:019 
House Kit 




1 


195 


House 1-C (124) 














196 


House 1-D (128) 










r. 


^ 


197 
198 


House 1-E (125) 
House 1-F (128) 










•^ 


v 








199 


House 1-G (126) 












200 


House 1-H (126) 












201 
202 


House 2-A (125) 
House 2-B (130) 


PRST:018 
Kit-Euro:POP 










203 


House 2-C (134) 












204 


House 2-D (127) 












205 


House 2-E (128) 












206 


House 2-F (128) 












207 


House 2-G (128) 












208 


House 2-H (128) 












209 

210 


Drum'n Bs A (170) 
Drum'n Bs B (160) 


PRST:003 
Standard Kit3 










211 


Drum'n Bs C (180) 












212 


Drum'n Bs D (160) 












213 


Drum'n Bs E (170) 












214 


Drum'n Bs F (170) 












215 


Drum'n Bs G (170) 












216 


Drum'n Bs H (170) 












217 
218 


BrkBts A (130) 
BrkBts B (130) 


PRST:012 
HipHop&Latin 










219 


BrkBts C (130) 












220 


BrkBts D (130) 












221 


BrkBts E (130) 












222 


BrkBts F (130) 












223 


BrkBts G (130) 












224 


BrkBts H (130) 












225 
226 


Disco A (125) 
Disco B (125) 


PRST:003 
Standard Kit3 






227 


Disco C (125) 












228 


Disco D (120) 












229 


Disco E (130) 












230 


Disco F (124) 












231 


Disco G (125) 














232 


Disco H (125) 












208 




JUNO-G_e.book 209 '^-v 2006^2^130 ^BIH ^lt2a$445j- 




About MIDI 



MIDI (Musical Instruments Digital Interface) is a standard 
specification that allows musical data to be exchanged between 
electronic musical instruments and computers. MIDI With a MIDI 
cable connecting MIDI devices that are equipped with MIDI 
connectors, you can play multiple instruments with a single 
keyboard, have multiple MIDI instruments perform in ensemble, 
program the settings to change automatically to match the 
performance as the song progresses, and more. 
If you mainly use the JUNO-G as a standalone keyboard instrument, 
you may really not need to know much at all about MIDI. 
However, the following MlDl-related information is provided so 
you can play the JUNO-G using an external MIDI device, or master 
other advanced techniques. 

About MIDI Connectors 

The JUNO-G is equipped with the three types of MIDI connectors, 
each which works differently. 




MIDI IN Connector 

This connector receives MIDI messages that are transmitted from 
external MIDI devices. The JUNO-G can receive these messages to 
play notes or select sounds, etc. 

MIDI OUT Connector 

This connector transmits MIDI messages to external MIDI devices. 
The JUNO-G's MIDI OUT connector is used for sending the 
performance data of the keyboard controller section as well as data 
used for saving various settings. 

MIDI Channels and Multi-timbral 
Sound Generators 

MIDI transmits many types of data over a single MIDI cable. This is 
made possible by the concept of MIDI channels. MIDI channels 
allow messages intended for a given instrument to be distinguished 
from messages intended for another instrument. In some w^ays, 
MIDI channels are similar to television channels. By changing the 
channel on a television set, you can view the programs that are being 
broadcast by different stations. In the same way, MIDI also allows a 
device to select the information intended for that device out of the 
variety of information that is being transmitted to it. 

The cable from the antenna carries the TV 
signals from many broadcast stations. 




The TV is set to the channel of the station 
you wish to watch. 



MIDI uses sixteen channels; 1 through 16. Set the receiving device so 
that it will receive only the channel that it needs to receive. 

Example: 

Set the JUNO-G to send Channel 1 and Channel 2, then set sound 
module A to receive only Channel 1 and sound module B only 
Channel 2. With this setup, you can get an ensemble performance, 
with, for example, a guitar sound from sound module A and bass 
from sound module B. 



MIDI OUT 



MIDI IN 



MIDI THRU 



Transmit channel: 1 , 2 



Receive channel: 1 

Sound p ^ * SI 

Module I. »» ^^ ' — ' nj 

A 



MIDI keyboard 



ggu^jj Receive channel: 2X MIDI IN 
Module II » » ^^3 — n 3 



When used as a sound module, the JUNO-G can receive on up to 
sixteen MIDI channels. Sound modules like the JUNO-G which can 
receive multiple MIDI channels simultaneously to play different 
sounds on each channel are called multi-timbral sound modules. 



/ ' 

General MIDI 

General MIDI is a set of recommendations which seeks to 
provide a way to go beyond the limitations of proprietary 
designs, and standardize the MIDI capabilities of sound 
generating devices. Sound generating devices and music files 
that meet the General MIDI standard bear the General MIDI 

GENERAL 

1*^8° ( miDI )■ Music files bearing the General MIDI logo can be 
played back using any General MIDI sound generating unit to 
produce essentially the same musical performance. 

General MIDI 2 



The upwardly compatible General MIDI 2 ( iflffJiZ ) 
recommendations pick up where the original General MIDI left 
off, offering enhanced expressive capabilities, and even greater 
compatibility. Issues that were not covered by the original 
General MIDI recommendations, such as how sounds are to be 
edited, and how effects should be handled, have now been 
precisely defined. Moreover, the available sounds have been 
expanded. General MIDI 2 compliant sound generators are 
capable of reliably playing back music files that carry either the 
General MIDI or General MIDI 2 logo. 

In some cases, the conventional form of General MIDI, which 
does not include the new enhancements, is referred to as 
"General MIDI 1" as a way of distinguishing it from General 
MIDI 2. 




209 




JUNO-G_e.book ZlO'^-y 2006^2^130 ^BIH ^lt2a$445j- 




MIDI Implementation 



Model: JUNO-G 

Date: Feb. 1,2006 

Version: 1.00 



1. Data Reception (Sound Generator Section) 
■Channel Voice Messages 

* Not received in Performance mode when the Receive Switch parameter (PERFORM/ 
MIDI) is OFF. 



•Note off 

Status 2nd byte 

8nH klcH 

9nH kkH 

n = MIDI channel number: 
kk = note number: 
vv = note off velocity: 



3rd byte 

vvH 

OOH 

OH - FH (ch.l - 16) 

OOH - 7FH (0 - 127) 

OOH - 7FH (0 - 127) 



Not received when the Envelope Mode parameter (PATCH/CONTROL and RHYTHM/ 
COMMON) is NO-SUS. 



•Note on 

Status 2nd byte 

9nH kkH 

n = MIDI channel number: 
kk = note number: 
vv = note on velocity: 



3rd byte 

vvH 

OH - FH (ch.l - 16) 

OOH - 7FH (0 - 127) 

OIH - 7FH (1 - 127) 



•Polyphonic Key Pressure 

Status 2nd byte 3rd byte 

AnH kkH vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

kk = note number: OOH - 7FH (0 - 127) 

vv = Polyphonic Key Pressure: OOH - 7FH (0 - 127) 

* Not received in Performance mode when the Receive Poly Key Pressure parameter 
(PERFORM/MIDI) is OFF. 

•Control Change 

* If the corresponding Controller number is selected for the Patch Control Source 1, 2, 3 or 
4 parameter (PATCH/CONTROL/CTRLl-4), the corresponding effect will occur. 

* If a Controller number that corresponds to the System Control Source 1, 2, 3 or 4 
parameter (SYSTEM/CTRL) is selected, the specified effect will apply if Patch Control 
Source 1, 2, 3 or 4 parameter (PATCH/CONTROL/CTRLl-4) is set to SYS-CTRLl, SYS- 
CTRL2, SYS-CTRL3 or SYS-CTRL4. 

OBank Select (Controller number 0, 32) 

Status 2nd byte 3rd byte 

BnH OOH mmH 

BnH 20H UH 

n = MIDI channel number: OH - FH (ch.l - 16) 

mm, 11 = Bank number: 00 OOH - 7F 7FH (bank.l - bank.16384) 

* Not received in Performance mode when the Receive Bank Select (PERFORM/MIDI) is 
OFF. 

* The Performances, Patches, and Rhythms corresponding to each Bank Select are as 
follows. 

* The SRX series corresponding to each Bank Select are to see the SRX series owner's 
manual. 



BANK 


SELECT 


PROGi 


«M 


GROUP 


NUMBER 


MSB 


LSB 


NUMBER 




























000 




001 


128 


GM Patch 


001 


- 256 


063 




001 


128 


GM Patch 


001 


- 256 


085 


000 


001 


064 


User Performance 


001 


- 064 




032 


001 


064 


Card Performance 


001 


- 064 




064 


001 


064 


Preset Performance 


001 


- 064 


086 


000 


001 


032 


User Rhythm 


001 


- 032 




032 


001 


032 


Card Rhythm 


001 


- 032 




064 


001 


036 


Preset Rhythm 


001 


- 036 


087 


000 


001 


128 


User Patch 


001 


- 128 




001 


001 


128 


User Patch 


129 


- 256 




032 


001 


128 


Card Patch 


001 


- 128 




033 


001 


128 


Card Patch 


129 


- 256 




064 


001 


128 


Preset Patch A 


001 


- 128 




065 


001 


128 


Preset Patch B 


001 


- 128 


092 


000 - 


001 




SRX Rhythm 


001 




093 


000 - 


001 




SRX Patch 


001 




120 




001 


057 


GM Rhythm 


001 


- 009 


121 


000 - 


001 


128 


GM Patch 


001 


- 256 



OModulatlon (Controller number 1) 

Status 2nd byte 3rd byte 

BnH OIH vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Modulation depth: OOH - 7FH (0 - 127) 

* Not received in Performance mode when the Receive Modulation parameter 
(PERFORM/MIDI) is OFF. 

OBreath type (Controller number 2) 

Status 2nd byte 3rd byte 

BnH 02H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Control value: OOH - 7FH (0 - 127) 

* JUNO-G receives it as ACTIVE EXPRESSION. 

OFoot type (Controller number 4) 

Status 2nd byte 3rd byte 

BnH 04H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Control value: OOH - 7FH (0 - 127) 

OPortamento Time (Controller number 5) 

Status 2nd byte 3rd byte 

BnH 05H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Portamento Time: OOH - 7FH (0 - 127) 

* In Performance mode, the Part Portament Time parameter (PERFORM/PART) will 
change. 

OData Entry (Controller number 6, 38) 

Status 2nd byte 3rd byte 

BnH 06H mmH 

BnH 26H UH 

n = MIDI channel number: OH - FH (ch.l - 16) 

mm, 11 = the value of the parameter specified by RPN/NRPN 

mm = MSB, 11 = LSB 

OVolume (Controller number 7) 

Status 2nd byte 3rd byte 

BnH 07H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Volume: OOH - 7FH (0 - 127) 

* Not received in Performance mode when the Receive Volume parameter (PERFORM/ 
MIDI) is OFF. 

* In Performance mode, the Part Level parameter (PERFORM/PART) will change. 

OBalance (Controller number 8) 

Status 2nd byte 3rd byte 

BnH 08H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Balance: OOH - 7FH (0 - 127) 

OPanpot (Controller number 10) 

Status 2nd byte 3rd byte 

BnH OAH vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Panpot: OOH - 40H - 7FH (Left - Center - Right), 

* Not received in Performance mode when the Receive Pan parameter (PERFORM/MIDI) 
is OFF. 

* In Performance mode, the Part Pan parameter (PERFORM/PART) will change. 

OExpression (Controller number 11) 

Status 2nd byte 3rd byte 

BnH OBH vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Expression: OOH - 7FH (0 - 127) 

* Not received when Tone Receive Expression parameter (PATCH/CONTROL or 
RHYTHM/COMMON) is OFF. 

* Not received in Performance mode when Receive Expression parameter (PERFORM/ 
MIDI) is OFF. 




210 




JUNO-G_e.book 211 '^-y 2 00 6^2^130 ^BIH ^lS2a$4 45J- 



MIDI Implementation 



OHold 1 (Controller number 64) 

Status 2nd byte 

BnH 40H 

n = MIDI channel number: 
vv = Control value: 



3rd byte 

vvH 

OH - FH (ch.l - 16) 

OOH - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON 



* Not received when Tone Receive Hold-1 parameter (PATCH/CONTROL or RHYTHM/ 
COMMON) is OFF. 

* Not received in Performance mode when Receive Hold-1 parameter (PERFOl^M/MIDI) 
is OFF. 

* When the Tone Redamper Switch parameter (PATCH/CONTROL) is turned ON, 128 
discrete steps are recognized for the value. 

OPortamento (Controller number 65) 

Status 2nd byte 3rd byte 

BnH 41H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Control value: OOH - 7FH (0 - 127) - 63 = OFF, 64 - 127 = ON 

* In Performance mode, the Part Portamento Switch parameter (PERFOI^M/PART) will 
change. 



OSostenuto (Controller number 66) 



Status 2nd byte 

BnH 42H 

n = MIDI channel number: 
vv = Control value: 

OSoft (Controller number 67) 

Status 2nd byte 

BnH 43H 

n = MIDI channel number: 
vv = Control value: 



3rd byte 

vvH 

OH - FH (ch.l - 16) 

OOH - 7FH (0 - 127) - 63 = OFF, 64 - 127 = ON 



3rd byte 

vvH 

OH - FH (ch.l - 16) 

OOH - 7FH (0 - 127) - 63 = OFF, 64 - 127 = ON 



OLegato Foot Switch (Controller number 68) 

Status 2nd byte 3rd byte 

BnH 44H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Control value: OOH - 7FH (0 - 127) - 63 = OFF, 64 - 127 = ON 

* In Performance mode, the Part Legato Switch parameter (PERFORM/PART) will 
change. 

OHold-2 (Controller number 69) 

Status 2nd byte 3rd byte 

BnH 45H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Control value: OOH - 7FH (0 - 127) 

* A hold movement isn't done. 

OResonance (Controller number 71) 

Status 2nd byte 3rd byte 

BnH 47H vvH 

n = MIDI chaimel number: OH - FH (ch.l - 16) 

vv= Resonance value (relative change): OOH - 40H - 7FH (-64 - - +63), 

* In Performance mode, the Part Resonance Offset parameter (PERFORM/PART) will 
change. 

ORelease Time (Controller number 72) 

Status 2nd byte 3rd byte 

BnH 48H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Release Time value (relative change): OOH - 40H - 7FH (-64 - - +63), 

* In Performance mode, the Part Release Time Offset parameter (PEIU^ORM/PART) will 
change. 

OAttack time (Controller number 73) 

Status 2nd byte 3rd byte 

BnH 49H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Attack time value (relative change): OOH - 40H - 7FH (-64 - - +63), 

* In Performance mode, the Part Attack Time Offset parameter (PERFORM/PART) will 
change. 



OCutoff (Controller number 74) 

Status 2nd byte 3rd byte 

BnH 4AH vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Cutoff value (relative change): OOH - 40H - 7FH (-64 - - +63) 

* In Performance mode, the Part Cutoff Offset parameter (PERFORM/PART) will change. 

ODecay Time (Controller number 75) 

Status 2nd byte 3rd byte 

BnH 4BH vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Decay Time value (relative change): OOH - 40H - 7FH (-64 - - +63) 

* In Performance mode, the Part Decay Time Offset parameter (PERFORM/PART) will 
change. 

OVibrato Rate (Controller number 76) 

Status 2nd byte 3rd byte 

BnH 4CH vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Vibrato Rate value (relative change): OOH - 40H - 7FH (-64 - - +63) 

* In Performance mode, the Part Vibrato Rate parameter (PERFOI^M/PART) will change. 

OVibrato Depth (Controller number 77) 

Status 2nd byte 3rd byte 

BnH 4DH vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Vibrato Depth Value (relative change): OOH - 40H - 7FH (-64 - - +63) 

* In Performance mode, the Part Vibrato Depth parameter (PERFORM /PART) will 
change. 

OVibrato Delay (Controller number 78) 

Status 2nd byte 3rd byte 

BnH 4EH vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Vibrato Delay value (relative change): OOH - 40H - 7FH (-64 - - +63) 

* In Performance mode, the Part Vibrato Delay parameter (PERFORM/PART) will 
change. 

OGeneral Purpose Controller 5 (Controller number 80) 

Status 2nd byte 3rd byte 

BnH SOH vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Control value: OOH - 7FH (0 - 127) 

* The Tone Level parameter (PATCH/TVA) of Tone 1 will change. 

OGeneral Purpose Controller 6 (Controller number 81) 

Status 2nd byte 3rd byte 

BnH SIH vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Control value: OOH - 7FH (0 - 127) 

* The Tone Level parameter (PATCH/TVA) of Tone 2 will change. 

OGeneral Purpose Controller 7 (Controller number 82) 

Status 2nd byte 3rd byte 

BnH S2H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Control value: OOH - 7FH (0 - 127) 

* The Tone Level parameter (PATCH/TVA) of Tone 3 will change. 

OGeneral Purpose Controller 8 (Controller number 83) 

Status 2nd byte 3rd byte 

BnH S3H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Control value: OOH - 7FH (0 - 127) 

* The Tone Level parameter (PATCH/TVA) of Tone 4 will change. 




211 




JUNO-G_e.book 212 ^--y 2 6^2^ 1 3 a ^BlB ^fi2B^4 45]- 



MIDI Implementation 



OPortamento control (Controller number 84) 

Status 2nd byte 3rd byte 

BnH 54H kkH 

n = MIDI channel number: OH - FH (ch.l - 16) 

kk = source note number: OOH - 7FH (0 - 127) 

* A Note-on received immediately after a Portamento Control message will change 
continuously in pitch, starting from the pitch of the Source Note Number. 

* If a voice is already sounding for a note number identical to the Source Note Number, 
this voice will continue sounding (i.e., legato) and will, when the next Note-on is 
received, smoothly change to the pitch of that Note-on. 

* The rate of the pitch change caused by Portamento Control is determined by the 
Portamento Time value. 

OEffect 1 (Reverb Send Level) (Controller number 91) 

Status 2nd byte 3rd byte 

BnH 5BH vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Reverb Send Level: OOH - 7FH (0 - 127) 

* In Performance mode, the Part Reverb Send Level parameter (PERFORM /PART) will 
change. 

OEffect 3 (Chorus Send Level) (Controller number 93) 

Status 2nd byte 3rd byte 

BnH SDH vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Chorus Send Level: OOH - 7FH (0 - 127) 

* In Performance mode, the Part Chorus Send Level parameter (PERFORM /PART) will 
change. 

ORPN MSB/LSB (Controller number 100, 101) 

Status 2nd byte 3rd byte 

BnH 65H mmH 

BnH 64H UH 

n = MIDI channel number: OH - FH (ch.l - 16) 

mm = upper byte (MSB) of parameter number specified by RPN 

11 = lower byte (LSB) of parameter number specified by RPN 

<« RPN >» 

Control Changes include RPN (Registered Parameter Numbers), which are extended. 
When using RPNs, first RPN {Controller numbers 100 and 101; they can be sent in any 
order) should be sent in order to select the parameter, then Data Entry (Controller numbers 
6 and 38) should be sent to set the value. Once RPN messages are received. Data Entry 
messages that is received at the same MIDI channel after that are recognized as changing 
toward the value of the RPN messages. In order not to make any mistakes, transmitting 
RPN Null is recommended after setting parameters you need. 

This device receives the following RPNs. 



RPN 


Data entry 




MSB, LSB 


MSB, LSB 


Notes 


OOH, OOH 


mmH,llH 


Pitch Bend Sensitivity 

mm: OOH - 18H (0 - 24 semitones) 

11; ignored (processed as OOH) 

Up to 2 octave can be specified in semitone steps 



* In Performance mode, the Fart Bend Range parameter (PERFORM/PART) will change. 

OOH, OIH mmH, UH Channel Fine Tuning 

mm, 11: 20 OOH - 40 OOH - 60 OOH 

(-4096 X 100 / 8192 - - +4096 x 100 / 8192 cent) 

* In Performance mode, the Fart Fine Tune parameter (PERFORM/FART) will change. 



OOH, 02H 



mmH, UH 



Channel Coarse Tuning 
mm: lOH - 40H - 70H (-48 - - +48 semitones) 
11: ignored (processed as OOH) 
In Performance mode, the Part Coarse Tune parameter (PERFORM/PART) will change. 



OOH, 05H 



mmH, UH 



Modulation Depth Range 

mm, 11: 00 OOH - 00 06H 

(0 - 16384 X 600 / 16384 cent) 



* Not received in Patch mode. 



7FH, 7FH — , — RPN nuU 

RPN and NRPN will be set as "unspecified." Once this setting has been made, subsequent 
Parameter values that were previously set will not change. 

mm, 11: ignored 



•Program Change 

Status 2nd byte 

CnH ppH 

n = MIDI channel number: 
pp = Program number: 



OH - FH (ch.l - 16) 

OOH - 7FH (prog.l - prog.128) 



* Not received in Performance mode when the Receive Program Change parameter 
(PERFORM/MIDI) is OFF. 

•Channel Pressure 

Status 2nd byte 

DnH vvH 

n = MIDI channel number: 
vv = Channel Pressure: 



OH - FH (ch.l - 16) 
OOH - 7FH (0 - 127) 



Not received in Performance mode when the Receive Channel Pressure parameter 
(PERFORM/MIDI) is OFF. 



•Pitch Bend Change 

Status 2nd byte 

EnH IIH 

n = MIDI channel number: 
mm, 11 = Pitch Bend value: 



3rd byte 

mmH 

OH - FH (ch.l - 16) 

00 OOH - 40 OOH - 7F 7FH (-8192 - - 



h8191) 



Not received when the Tone Receive Bender parameter (PATCH/ CONTROL) is OFF. 
Not received in Performance mode when the Receive Pitch Bend parameter 
(PERFORM/MIDI) is OFF. 




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MIDI Implementation 



■Channel Mode Messages 

* Not received in Performance mode when the Receive Switch parameter (PEiy^ORM/ 
MIDI) is OFF. 

•All Sounds Off (Controller number 120) 

Status 2nd byte 3rd byte 

BnH 78H OOH 

n = MIDI channel number: OH - FH (ch.l - 16) 

* When this message is received, all notes currently sounding on the corresponding 
channel will be turned off. 

•Reset All Controllers (Controller number 121) 

Status 2nd byte 3rd byte 

BnH 79H OOH 

n = MIDI channel number: OH - FH (ch.l - 16) 

* When this message is received, the following controllers will be set to their reset values. 



Controller 

Pitch Bend Change 

Polyphonic Key Pressure 

Channel Pressure 

Modulation 

Breath Type 

Expression 

Holdl 

Sostenuto 

Soft 

Hold 2 

RPN 

NRPN 



Reset value 

+/-0 (center) 

(off) 

(off) 

O(off) 

(min) 

127 (max) 

However the controller will be at minimum. 

O(off) 

O(off) 

O(off) 

O(off) 

unset; previously set data will not change 

unset; previously set data will not change 



•All Notes Off (Controller number 123) 

Status 2nd byte 3rd byte 

BnH 7BH OOH 

n = MIDI channel number: OH - FH (ch.l - 16) 

* When All Notes Off is received, all notes on the corresponding channel will be turned 
off. However, if Hold 1 or Sostenuto is ON, the sound will be continued until these are 
turned off. 

•OMNI OFF (Controller number 124) 

Status 2nd byte 3rd byte 

BnH 7CH OOH 

n = MIDI channel number: OH - FH (ch.l - 16) 

* The same processing will be carried out as when All Notes Off is received. 

•OMNI ON (Controller number 125) 

Status 2nd byte 3rd byte 

BnH 7DH OOH 

n = MIDI channel number: OH - FH (ch.l - 16) 

* The same processing will be carried out as when All Notes Off is received. OMNI ON 
will not be turned on. 

•MONO (Controller number 126) 

Status 2nd byte 3rd byte 

mmH 
OH - FH (ch.l - 16) 



BnH 7EH 

n = MIDI channel number: 



mm = mono number: 



OOH - lOH (0 - 16) 



* The same processing will be carried out as when All Notes Off is received. 

* In Performance mode, the Part Mono/Poly parameter (PERFORM/ PART) will change. 

•POLY (Controller number 127) 

Status 2nd byte 3rd byte 

BnH 7FH OOH 

n = MIDI channel number: OH - FH (ch.l - 16) 

* The same processing will be carried out as when All Notes Off is received. 

* In Performance mode, the Part Mono/Poly parameter (PERFORM /PART) will change. 



■System Realtime Message 
•Active Sensing 



Status 
FEH 



When Active Sensing is received, the unit will begin monitoring the intervals of all 
further messages. While monitoring, if the interval between messages exceeds 420 ms, 
the same processing will be carried out as when All Sounds Off, All Notes Off and Reset 
All Controllers are received, and message interval monitoring will be halted. 



■System Exclusive Message 



Status 
FOH 



ii = ID number: 



dd,...,ee = 
F7H: 



Data byte Status 

iiH, ddH, ,eeH F7H 

System Exclusive Message status 

an ID number (manufacturer ID) to indicate the manufacturer whose 

Exclusive message this is. Roland's manufacturer ID is 41H. 

ID numbers 7EH and 7FH are extensions of the MIDI standard; 

Universal Non-realtime Messages (7EH) and Universal Realtime 

Messages (7FH). 

OOH - 7FH (0 - 127) 

EOX (End Of Exclusive) 



Of the System Exclusive messages received by this device, the Universal Non-realtime 
messages and the Universal Realtime messages and the Data Request (RQl) messages and 
the Data Set (DTI) messages will be set automatically. 

•Universal Non-realtime System Exclusive Messages 

Oldentity Request Message 

Status Data byte Status 

FOH 7EH, dev, 06H, OIH F7H 



Byte 
FOH 
7EH 
dev 
06H 
OIH 
F7H 



Explanation 

Exclusive status 

ID number (Universal Non-realtime Message) 

Device ID (dev: lOH - IFH, 7FH) 

Sub ID#1 (General Information) 

Sub ID#2 (Identity Request) 

EOX (End Of Exclusive) 



* When this message is received. Identity Reply message (p. 21S) will be transmitted. 

OGM1 System On 

Status Data byte Status 

FOH 7EH, 7FH, 09H, OIH F7H 



Byte 
FOH 
7EH 
7FH 
09H 
OIH 
F7H 



Explanation 

Exclusive status 

ID number (Universal Non-realtime Message) 

Device ID (Broadcast) 

Sub ID#1 (General MIDI Message) 

Sub ID#2 (General MIDI I On) 

EOX (End Of Exclusive) 



* When this messages is received, this instrument will turn to the Performance mode. 

* Not received when the Receive GMI System On parameter (SYSTEM/MIDI) is OFF. 

OGM2 System On 

Status Data byte Status 

FOH 7EH 7FH 09H 03H F7H 



Byte 
FOH 
7EH 
7FH 
09H 
03H 
F7H 



Explanation 

Exclusive status 

ID number (Universal Non-realtime Message) 

Device ID (Broadcast) 

Sub ID#1 (General MIDI Message) 

Sub ID#2 (General MIDI 2 On) 

EOX (End Of Exclusive) 



When this messages is received, this instrument will turn to the Performance mode. 
Not received when the Receive GM2 System On parameter (SYSTEM/MIDI) is OFF. 




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MIDI Implementation 



OGM System Off 

Status Data byte Status 

FOH 7EH, 7F, 09H, 02H F7H 



Byte 
FOH 
7EH 
7FH 
09H 
02H 
F7H 



Explanation 

Exclusive status 

ID number (Universal Non-realtime Message) 

Device ID (Broadcast) 

Sub ID#1 (General MIDI Message) 

Sub ID#2 (General MIDI Off) 

EOX (End Of Exclusive) 



* When this messages is received, this instrument will return to the Performance mode. 

•Universal Realtime System Exclusive IVIessages 

OMaster Volume 



Status 


Data bvte 


Status 


FOH 


7FH, 7FH, 04H, OIH, UH, mmH 


F7H 


Byte 


Explanation 




FOH 


Exclusive status 




7FH 


ID number (universal realtime message) 




7FH 


Device ID (Broadcast) 




04H 


Sub ID#1 (Device Control) 




OIH 


Sub ID#2 (Master Volume) 




UH 


Master Volume lower byte 




mmH 


Master Volume upper byte 




F7H 


EOX (End Of Exclusive) 





* The lower byte (UH) of Master Volume will be handled as OOH. 

* The Master Level parameter (SYSTEM/GENERAL) wiU change. 

OMaster Fine Tuning 

Status Data byte Status 

FOH 7FH, 7FH, 04H, 03H, UH, mmH F7H 



Byte 

FOH 

7FH 

7FH 

04H 

03H 

UH 

mmH 

F7H 



Explanation 

Exclusive status 

ID number (universal realtime message) 

Device ID (Broadcast) 

Sub ID#1 (Device Control) 

Sub ID#2 (Master Fine Tuning) 

Master Fine Tuning LSB 

Master Fine Tuning MSB 

EOX (End Of Exclusive) 



mm, U: 00 OOH - 40 OOH - 7F 7FH (-100 - - +99.9 [cents]) 

* The Master Tune parameter (SYSTEM/GENERAL) wUl change. 

OlVlaster Coarse Tuning 

Status Data byte Status 

FOH 7FH, 7FH, 04H, 04H, UH, mmH F7 



Byte 


Explanation 


FOH 


Exclusive status 


7FH 


ID number (universal realtime message) 


7FH 


Device ID (Broadcast) 


04H 


Sub ID#1 (Device Control) 


04H 


Sub ID#2 (Master Coarse Tuning) 


UH 


Master Coarse Timing LSB 


mmH 


Master Coarse Tuning MSB 


F7H 


EOX (End Of Exclusive) 


UH: 


ignored (processed as OOH) 


mmH: 


28H - 40H - 58H (-24 - - +24 [semitones 



* The Master Key Shift parameter (SYSTEM/GENERAL) wiU change. 



•Global Parameter Control 

* Not received in Patch mode and Piano mode. 

OReverb Parameters 

Status Data byte 

FOH 7FH, 7FH, 04H, 05H, OIH, OIH, 

OIH, OIH, OIH, ppH, vvH 



Status 
F7H 



Byte 
FOH 
7FH 
7FH 
04H 
05H 
OIH 
OIH 
OIH 
OIH 
OIH 
ppH 
vvH 



Explanation 

Exclusive status 

ID number (universal realtime message) 

Device ID (Broadcast) 

Sub ID#1 (Device Control) 

Sub ID#2 (Global Parameter Control) 

Slot path length 

Parameter ID width 

Value width 

Slot path MSB 

Slot path LSB (Effect 0101: Reverb) 

Parameter to be controlled. 

Value for the parameter. 

PP=0 



) 


Reverb Type 


OOH 


Small Room 


OIH 


Medium Room 


02H 


Large Room 


03H 


Medium Hall 


04H 


Large HaU 


08H 


Plate 




Reverb Time 


OOH - 7FH 


0-127 



F7H 



pp=l 



EOX (End Of Exclusive) 



OCIiorus Parameters 

Status Data byte 

FOH 7FH, 7FH, 04H, 05H, OIH, OIH, 

OIH, OIH, 02H, ppH, vvH 



Byte 
FOH 
7FH 
7FH 
04H 
05H 
OIH 
OIH 
OIH 
OIH 
02H 
PpH 
vvH 



Status 
F7H 



Explanation 

Exclusive status 

ID number (universal realtime message) 

Device ID (Broadcast) 

Sub ID#1 (Device Control) 

Sub ID#2 (Global Parameter Control) 

Slot path length 

Parameter ID width 

Value width 

Slot path MSB 

Slot path LSB (Effect 0102: Chorus) 

Parameter to be controlled. 

Value for the parameter. 



pp=o 




Chorus Type 


vv=0 




Chorusl 


vv=l 




Chorus2 


vv=2 




Chorus3 


vv=3 




Chorus4 


vv=4 




FB Chorus 


vv=5 




Flanger 


pp=l 




Mod Rate 


vv= OOH - 


7FH 


0-127 


pp=2 




Mod Depth 


vv = OOH 


7FH 


0-127 


pp=3 




Feedback 


vv = OOH 


7FH 


0-127 


pp=4 




Send To Reverb 


vv = OOH 


7FH 


0-127 



EOX (End Of Exclusive) 




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MIDI Implementation 



OChannel Pressure 



Status 


Data bvte 


Status 


FOH 


7FH, 7FH, 09H, OIH, OnH, ppH, rrH F7H 


Byte 


Explanation 




FOH 


Exclusive status 




7FH 


ID number (universal realtime message) 


7FH 


Device ID (Broadcast) 


09H 


Sub ID#1 (Controller Destination Setting) 


OIH 


Sub ID#2 (Channel Pressure) 


OnH 


MIDI Channel (00 


OF) 


ppH 


Controlled parameter 


rrH 


Controlled range 






pp=0 


Pitch Control 




rr = 28H - 58H 


-24 - +24 [semitones] 




pp=l 


Filter Cutoff Control 




rr = OOH - 7FH 


-9600 - +9450 [cents] 




pp=2 


Amplitude Control 




rr = OOH - 7FH 


- 200% 




pp=3 


LFO Pitch Depth 




rr = OOH - 7FH 


- 600 [cents] 




pp=4 


LFO Filter Depth 




rr = OOH - 7FH 


- 2400 [cents] 




pp=5 


LFO Amplitude Depth 




rr = OOH - 7FH 


- 100% 


F7H 


FOX (End Of Exclusive) 


OController 






Status 


Data bvte 


status 


FOH 


7FH, 7FH, 09H, 03H, OnH, ccH, ppH, rrH F7H 


Byte 


Explanation 




FOH 


Exclusive status 




7FH 


ID number (universal realtime message) 


7FH 


Device ID (Broadcast) 


09H 


Sub ID#1 (Controller Destination Setting) 


03H 


Sub ID#2 (Control Change) 


OnH 


MIDI Channel (00 


OF) 


ccH 


Controller number (01 - IF, 40 - 5F) 


ppH 


Controlled parameter 


rrH 


Controlled range 






pp=0 


Pitch Control 




rr = 28H - 58H 


-24 - +24 [semitones] 




pp=l 


Filter Cutoff Control 




rr = OOH - 7FH 


-9600 - +9450 [cents] 




pp=2 


Amplitude Control 




rr = OOH - 7FH 


- 200% 




pp=3 


LFO Pitch Depth 




rr = OOH - 7FH 


- 600 [cents] 




pp=4 


LFO Filter Depth 




rr = OOH - 7FH 


- 2400 [cents] 




pp=5 


LFO Amplitude Depth 




rr = OOH - 7FH 


- 100% 



EOX (End Of Exclusive) 



OScale/Octave Tuning Adjust 

Status Data byte Status 

FOH 7EH, 7FH, 08H, 08H, ffH, ggH,hhH, ssH... F7 



Byte 
FOH 
7EH 
7FH 
08H 
08H 
ffH 



ggH 
hhH 
ssH 



Explanation 

Exclusive status 

ID number (Universal Non-realtime Message) 

Device ID (Broadcast) 

Sub ID#1 (MIDI Tuning Standard) 

Sub ID#2 (scale/octave tuning 1-byte form) 

Channel/Option byte 1 

bits to 1 = channel 15 to 16 

bit 2 to 6 = Undefined 

Channel byte 2 

bits to 6 = channel 8 to 14 

Channel byte 3 

bits to 6 = channel 1 to 7 

12 byte tuning offset of 12 semitones from C to I 

OOH = -64 [cents] 

40H = [cents] (equal temperament) 

7FH = +63 [cents] 

EOX (End Of Exclusive) 



OKey-based Instrument Controllers 

Status Data byte 



FOH 


7FH, 7FH, OAH, OIH, OnH, kkH, nnH, vvH 


Byte 


Explanation 




FOH 


Exclusive status 




7FH 


ID number (universal realtime message) 


7FH 


Device ID (Broadcast) 


OAH 


Sub ID#1 (Key-Based Instrument Control) 


OIH 


Sub ID#2 (Controller) 


OnH 


MIDI Channel (00 


OFH) 


kkH 


Key Number 




nnH 


Control Number 




vvH 


Value 
nn=07H Level 






vv = OOH - 7FH 


- 200% (Relative) 




nn=OAH 


Pan 




vv = OOH - 7FH 


Left - Right (Absolute) 




nn=5BH 


Reverb Send 




vv = OOH - 7FH 


- 127 (Absolute) 




nn=5D 


Chorus Send 




vv = OOH - 7FH 


- 127 (Absolute) 



Status 
F7H 



F7 EOX (End Of Exclusive) 

* This parameter affects drum instruments only. 




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MIDI Implementation 



•Data Transmission 

This instrument can use exclusive messages to exchange many varieties of internal settings 

with other devices. 

The model ID of the exclusive messages used by this instrument is OOH OOH 15H. 

OData Request 1 (RQ1) 

This message requests the other device to transmit data. The address and size indicate the 
type and amount of data that is requested. 

When a Data Request message is received, if the device is in a state in which it is able to 
transmit data, and if the address and size are appropriate, the requested data is transmitted 
as a Data Set 1 (DTI) message. If the conditions are not met, nothing is transmitted. 



status 
F7H 



Status 


data bvte 


FOH 


41H, dev, OOH, OOH, 15H, HH, a 




ddH, ssH, ttH, uuH, vvH, sum 


Byte 


Remarks 


FOH 


Exclusive status 


41H 


ID number (Roland) 


dev 


device ID (dev: lOH - IFH, 7FH) 


OOH 


modelID#l(JUNO-G) 


OOH 


modeIID#2(JUNO-G) 


15H 


model ID #3 (JUNO-G) 


IIH 


command ID (RQl) 


aaH 


address MSB 


bbH 


address 


ccH 


address 


ddH 


address LSB 


ssH 


size MSB 


ttH 


size 


uuH 


size 


vvH 


size LSB 


sum 


checksum 


F7H 


FOX (End Of Exclusive) 



* The size of data that can be transmitted at one time is fixed for each type of data. And 
data requests must be made with a fixed starting address and size. Refer to the address 
and size given in Parameter Address Map (p. 222). 

* For the checksum, refer to p. 239. 

* Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF. 

OData set 1 (DT1) 

Status Data byte Status 

FOH 41H, dev, OOH, OOH, 15H, 12H, aaH, bbH, F7H 

ccH, ddH, eeH, ... ffH, sum 



Byte 

FOH 
41H 
dev 
OOH 
OOH 
15H 
12H 
aaH 
bbH 
ccH 
ddH 
eeH 



ffH 

sum 
F7H 



Explanation 
Exclusive status 
ID number (Roland) 
Device ID (dev: OOH - IFH, 7FH) 
Model ID #1 (JUNO-G) 
Model ID #2 (JUNO-G) 
Model ID #3 (JUNO-G) 
Command ID (DTI) 

Address MSB: upper byte of the starting address of the data to be sent 
Address: upper middle byte of the starting address of the data to be sent 

Address: lower middle byte of the starting address of the data to be sent 

Address LSB: lower byte of the starting address of the data to be sent. 
Data: the actual data to be sent. Multiple bytes of data are transmitted 

in order starting from the address. 

Data 

Checksum 

FOX (End Of Exclusive) 



The amount of data that can be transmitted at one time depends on the type of data, and 

data will be transmitted from the specified starting address and size. Refer to the address 

and size given in Parameter Address Map (p. 222). 

Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each 

packet will be sent at an interval of about 20 ms. 

Regarding the checksum, please refer to p. 239. 

Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF. 



Status Data byte Status 

FOH 41H, dev, 42H, 12H, aaH, bbH, ccH, F7H 

ddH, ... eeH, sum 

Byte Explanation 

FOH Exclusive status 

41H ID number (Roland) 

dev Device ID (dev: lOH - IFH, 7FH) 

42H Model ID (GS) 

12H Command ID (DTI) 

aaH Address MSB: upper byte of the starting address of the transmitted data 

bbH Address: middle byte of the starting address of the transmitted data 

ccH Address LSB: lower byte of the starting address of the transmitted data 

ddH Data: the actual data to be transmitted. Multiple bytes of data are 

transmitted starting from the address. 

eeH Data 

sum Checksum 

F7H EOX (End Of Exclusive) 

* The amount of data that can be transmitted at one time depends on the type of data, and 
data will be transmitted from the specified starting address and size. Refer to the address 
and size given in Parameter Address Map (p. 222). 

* Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each 
packet will be sent at an interval of about 20 ms. 

* Regarding the checksum, please refer to p. 239. 

* Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF. 




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MIDI Implementation 



2. Data Transmission 

(Sound Generator Section) 

■Channel Voice Messages 



3rd byte 

vvH 

OH - FH (ch.l - 16) 

OOH - 7FH (0 - 127) 

OOH - 7FH (0 - 127) 



3rd byte 

vvH 

OH - FH (ch.l - 16) 

OOH - 7FH (0 - 127) 

OIH - 7FH (1 - 127) 



•Note off 

Status 2nd byte 

8nH klcH 

n = MIDI channel number: 
kk = note number: 
vv = note off velocity: 

•Note on 

Status 2nd byte 

9nH klcH 

n = MIDI channel number: 
kk = note number: 
vv = note on velocity: 

•Control Change 

* By selecting a controller number that corresponds to the setting of parameters of 
controllers (REALTIME CONTROL knob, and so on), the JUNO-G can transmit any 
control change message. 

OBank Select (Controller number 0, 32) 

Status 2nd byte 3rd byte 

BnH OOH mmH 

BnH 20H UH 

n = MIDI channel number: OH - FH (ch.l - 16) 

mm, 11 = Bank number: 00 OOH - 7F 7FH (bank.l - bank.16384) 

* These messages are transmitted when Patch, Rhythm Set or Performance is selected. But 
not transmitted when Transmit Program Change or Transmit Bank Select parameter 
(SYSTEM/MIDI) is OFF. 

* In Performance mode, these messages are not transmitted when External Bank Select 
MSB or External PC Number parameter (PERFORMANCE/PART) is OFF. 

* Although with the JUNO-G you can select the Bank Select messages to be transmitted, be 
sure to refer to Bank Select and Program Change Correspondence Chart (p. 240) for 
the Bank Select messages transmitted when the JUNO-G is select a Patch, Rhythm Set or 
Performance. 

* The Bank Select Numbers corresponding to SRX series should be referred to the SRX 
series owner's manual. 

OModulatlon (Controller number 1) 

Status 2nd byte 3rd byte 

BnH OIH vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Modulation depth: OOH - 7FH (0 - 127) 

OBreath type (Controller number 2) 

Status 2nd byte 3rd byte 

BnH 02H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Control value: OOH - 7FH (0 - 127) 

* JUNO-G transmits this message when you operate ACTIVE EXPRESSION with the D 
Beam controller. 

OPortamento Time (Controller number 5) 

Status 2nd byte 3rd byte 

BnH 05H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Portamento Time: OOH - 7FH (0 - 127) 

OData Entry (Controller number 6, 38) 

Status 2nd byte 3rd byte 

BnH 06H mmH 

BnH 26H UH 

n = MIDI chaimel number: OH - FH (ch.l - 16) 

mm, II = the value of the parameter specified by RPN/NRPN 

mm = MSB, 11 = LSB 



OVolume (Controller number 7) 

Status 2nd byte 3rd byte 

BnH 07H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Volume: OOH - 7FH (0 - 127) 

* In Performance mode, these messages are not transmitted when External Level 
parameter (PERFORMANCE/PART) is OFF. 



OPanpot (Controller number 10) 

Status 2nd byte 

BnH OAH 

n = MIDI channel number: 
vv = Panpot: 



3rd byte 

vvH 

OH - FH (ch.l - 16) 

OOH - 40H - 7FH (Left - Center - Right), 



In Performance mode, these messages are not transmitted when External Pan parameter 
(PERFORMANCE/PART) is OFF. 



OExpression (Controller number 11) 



Status 2nd byte 

BnH OBH 

n = MIDI channel number: 
vv = Expression: 

OHold 1 (Controller number 64) 

Status 2nd byte 

BnH 40H 

n = MIDI channel number: 
vv = Control value: 



3rd byte 

vvH 

OH - FH (ch.l - 16) 

OOH - 7FH (0 - 127) 



3rd byte 

vvH 

OH - FH (ch.l - 16) 

OOH - 7FH (0 - 127) 



0-63 = OFF, 64-127 = ON 



* When Continuous Hold Pedal parameter (SYSTEM/CTRL) is OFF, just only OOH (OFF) 
and 7FH (ON) can be send as the control value. 

OPortamento (Controller number 65) 

Status 2nd byte 3rd byte 

BnH 41H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Control value: OOH - 7FH (0 - 127) - 63 = OFF, 64 - 127 = ON 

OResonance (Controller number 71) 

Status 2nd byte 3rd byte 

BnH 47H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv= Resonance value (relative change): OOH - 40H - 7FH (-64 - - +63) 

ORelease Time (Controller number 72) 

Status 2nd byte 3rd byte 

BnH 48H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Release Time value (relative change): OOH - 40H - 7FH (-64 - - +63) 

OAttack time (Controller number 73) 

Status 2nd byte 3rd byte 

BnH 49H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Attack time value (relative change): OOH - 40H - 7FH (-64 - - +63) 



OCutoff (Controller number 74) 

Status 2nd byte 

BnH 4AH 

n = MIDI channel number: 

vv = Cutoff value (relative change): 



3rd byte 

vvH 

OH - FH (ch.l - 16) 

OOH - 40H - 7FH (-64 - - +63) 



OGeneral Purpose Controller 5 (Controller number 80) 

Status 2nd byte 3rd byte 

BnH 50H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Control value: OOH - 7FH (0 - 127) 

OGeneral Purpose Controller 6 (Controller number 81) 

Status 2nd byte 3rd byte 

BnH 51H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Control value: OOH - 7FH (0 - 127) 




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OGeneral Purpose Controller 7 (Controller number 82) 

Status 2nd byte 3rd byte 

BnH 52H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Control value: OOH - 7FH (0 - 127) 

OGeneral Purpose Controller 8 (Controller number 83) 

Status 2nd byte 3rd byte 

BnH 53H vvH 

n = MIDI channel number: OH - FH (ch.l - 16) 

vv = Control value: OOH - 7FH (0 - 127) 

OPortamento control (Controller number 84) 



Status 2nd byte 

BnH 54H 

n = MIDI channel number: 
kk = source note number: 

•Program Change 

Status 2nd byte 

CnH ppH 

n = MIDI channel number: 
pp = Program number: 



3rd byte 

kkH 

OH - FH (ch.l - 16) 

OOH - 7FH (0 - 127) 



OH - FH (ch.l - 16) 

OOH - 7FH (prog.l - prog. 128) 



* These messages are transmitted when Patch, Rhythm Set or Performance is selected. But 
not transmitted when Transmit Program Change parameter (SYSTEM/MIDI) is OFF. 

* In Performance mode, these messages are not transmitted when External PC Num 
parameter (PERFORMANCE/PART) is OFF. 

•Channel Pressure 

Status 2nd byte 

DnH vvH 

n = MIDI charmel number: OH - FH (ch.l - 16) 

vv = Channel Pressure: OOH - 7FH (0 - 127) 



•Pitch Bend Change 

Status 2nd byte 

EnH UH 

n = MIDI channel number: 
mm, 11 = Pitch Bend value: 



3rd byte 

mmH 

OH - FH (ch.l - 16) 

00 OOH - 40 OOH - 7F 7FH (-8192 - - 



h8191) 



■Channel Mode Messages 
»MONO (Controller number 126) 



Status 2nd byte 

BnH 7EH 

n = MIDI channel number: 
mm = mono number: 



3rd byte 

mmH 

OH - FH (ch.l - 16) 

OOH - lOH (0 - 16) 



•POLY (Controller number 127) 

Status 2nd byte 3rd byte 

BnH 7FH OOH 

n = MIDI channel number: OH - FH (ch.l - 16) 

■System Realtime Messages 
•Active Sensing 

Status 
FEH 

* This message is transmitted at intervals of approximately 250 msec. 

* This message is not sent when Transmit Active Sensing parameter (SYSTEM/MIDI) is 
OFF. 



■System Exclusive Messages 

Universal Non-realtime System Exclusive Message" and Data Set 1 (DTI) are the only 
System Exclusive messages transmitted by the JUNO-G. 

•Universal Non-realtime System Exclusive Message 

Oldentity Reply Message (JUNO-G) 

Receiving Identity Request Message (p. 213), the JUNO-G send this message. 



Status 


Data bvte Stat 


FOH 


7EH, dev, 06H, 02H, 41H, 6BH, OIH, F7F 




02H, OIH, 04H, 03H, OOH, OOH 


Byte 


Explanation 


FOH 


Exclusive status 


7EH 


ID number (Universal Non-realtime Message) 


dev 


Device ID (dev: lOH - IFH) 


06H 


Sub ID#1 (General hiformalion) 


02H 


Sub ID#2 (Identity Reply) 


41H 


ID number (Roland) 


6BH01H 


Device family code 


02H OIH 


Device family number code 


04H 03H OOH OOH 


Software revision level 


F7H 


FOX (End of Exclusive) 



•Data Transmission 

ODatasetl (DT1) 

Status Data byte Status 

FOH 41H, dev, OOH, OOH, 15H,12H, aaH, bbH, F7H 

ccH, ddH, eeH, ... ffH, sum 



vte 



FOH 
41H 
dev 
OOH 
OOH 
15H 
12H 
aaH 
bbH 
ccH 
ddH 
eeH 



Explanation 
Exclusive status 
ID number (Roland) 
Device ID (dev: OOH - IFH, 7FH) 
Model ID #1 (JUNO-G) 
Model ID #2 (JUNO-G) 
Model ID #3 (JUNO-G) 
Command ID (DTI) 

Address MSB: upper byte of the starting address of the data to be sent 
Address: upper middle byte of the starting address of the data to be sent 

Address: lower middle byte of the starting address of the data to be sent 

Address LSB: lower byte of the starting address of the data to be sent. 
Data: the actual data to be sent. Multiple bytes of data are transmitted 

in order starting from the address. 



ffH Data 

sum Checksum 

F7H FOX (End Of Exclusive) 

* The amount of data that can be transmitted at one time depends on the type of data, and 
data will be transmitted from the specified starting address and size. Refer to the address 
and size given in Parameter Address Map (p. 222). 

* Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each 
packet will be sent at an interval of about 20 ms. 




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3. Data Reception (Sequencer Section) 

3.1 Messages recorded during recording 
■Channel Voice Messages 



•Note Off 

Status 2nd byte 

8nH klcH 

9nH klcH 

n=MIDI channel number: 
kk=note number: 
vv=note off velocity: 



3rd byte 

vvH 

OOH 

OH - FH (ch.l - ch.l6) 

OOH - 7FH (0 - 127) 

OOH - 7FH (0 - 127) 



* Not received when the Note parameter (Recording Select window) is OFF. 



•Note on 

Status 2nd byte 

9nH klcH 

n=MlDI channel number: 
kk=note number: 
vv=note on velocity: 



3rd byte 

vvH 

OH - FH (ch.l - ch.l6) 

OOH - 7FH (0 - 127) 

OIH - 7FH (1 - 127) 



* Not received when the Note parameter (Recording Select window) is OFF. 



•Polyphonic Aftertouch 

Status 2nd byte 

AnH klcH 

n=MlDI channel number: 
kk=note number: 
vv=Polyphonic Aftertouch: 



3rd byte 

vvH 

OH - FH (ch.l - ch.l6) 

OOH - 7FH (0 - 127) 

OOH - 7FH (0 - 127) 



* Not received when the Poly Afertouch parameter (Recording Select window) is OFF. 



•Control Change 

Status 2nd byte 

BnH kkH 

n=MIDI channel number: 
kk=Control number: 
vv=value: 



3rd byte 

vvH 

OH - FH (ch.l - ch.l6) 

OOH - 78H (0 - 120) 

OOH - 7FH (0 - 127) 



* Not received when the Control Change parameter (Recording Select window) is OFF. 



•Program Change 

Status 2nd byte 

CnH ppH 

n=MIDI channel number: 
pp=Frogram number: 



OH - FH (ch.l - ch.l6) 

OOH - 7FH (prog.l - prog.128) 



Not received when the Program Change parameter (Recording Select window) is OFF. 



•Channel Aftertouch 

Status 2nd byte 

DnH vvH 

n=MIDI channel number: 
vv=Channel Aftertouch: 



OH - FH (ch.l - ch.l6) 
OOH - 7FH (0 - 127) 



* Not received when the Channel Aftertouch parameter (Recording Select window) is 
OFF. 



•Pitch Bend Change 

Status 2nd byte 

EnH UH 

n=MIDI channel number: 
mm, ll=Pitch Bend value: 



3rd byte 

mmH 

OH - FH (ch.l - ch.l6) 

00 OOH - 40 OOH - 7F 7FH (-8192 - - +8191) 



* Not received when the Pitch Bend parameter (Recording Select window) is OFF. 



■Channel Mode messages 

•All Sound Off (Controller number 120) 

Status 2nd byte 3rd byte 

BnH 78H OOH 

n=MIDI channel number: OH - FH (ch.l - ch.l6) 

•Reset All Controller (Controller number 121) 

Status 2nd byte 3rd byte 

BnH 79H OOH 

n=MIDI channel number: OH - FH (ch.l - ch.l6) 

•Omni Off (Controller number 124) 

Status 2nd byte 3rd byte 

BnH 7CH OOH 

n=MIDI channel number: OH - FH (ch.l - ch.l6) 

* The same processing will be done as when an All Note Off message is received. 

•Omni On (Controller number 125) 

Status 2nd byte 3rd byte 

BnH 7DH OOH 

n=MIDI channel number: OH - FH (ch.l - ch.l6) 

* The same processing will be done as when an All Note Off message is received. 

•lUlono (Controller number 126) 

Status 2nd byte 3rd byte 

BnH 7EH mmH 

n=MIDI channel number: OH - FH (ch.l - ch.l6) 

mm=mono number: OOH - lOH (0 - 16) 

* The same processing will be done as when an All Note Off message is received. 

•Poly (Controller number 127) 

Status 2nd byte 3rd byte 

OOH 
OH - FH (ch.l - ch.l6) 



BnH 7FH 

n=MIDI channel number: 



* The same processing will be done as when an All Note Off message is received. 



■System Exclusive Messages 



Status 

FOH 

FOH: 

ii=ID number: 



dd,..., ee = data: 
F7H: 



Data byte Status 

iiH,ddH, , eeH F7H 

System Exclusive message status 

This is the ID number (manufacturer ID) that specifies the 

manufacturer whose exclusive message this is. Roland's manufacturer 

ID is 41H. ID numbers 7EH and 7FH are defined in an expansion of 

the MIDI standard as Universal Non-real-time messages (7EH) and 

Universal Realtime Messages (7FH). 

OOH - 7FH (0 - 127) 

EOX (End of System Exclusive) 



* Not received when the System Exclusive parameter (Recording Select window) is OFF. 

* MIDI Machine Control and MIDI Time code is not recorded. (Refer to "1.3 Messages 
acknowledged for synchronization") 




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3.2 Messages not recorded during recording 
■Channel mode messages 
•Local On/Off (Controller number 122) 



Status 2nd byte 

BnH 7AH 

n=MIDI channel number: 
vv=Value: 



3rd byte 

vvH 

OH - FH (ch.l - ch.l6) 

OOH, 7FH (Local Off, Local On) 



•All notes off (Controller number 123) 

Status 2nd byte 3rd byte 

BnH 7BH OOH 

n=MIDI channel number: OH - FH (ch.l - ch.l6) 

* When an All Note Off message is received, all notes of the corresponding channel that 
are on will be sent Note Off's, and the resulting Note Off messages will be recorded. 

3.3 Messages acknowledged for synchronization 
■System Common messages 
•Tune Request 

Status 



•MIDI Time Code Quarter Frame Messages 

MIDI Time Code Quarter Frame Messages can be transmitted while the sequencer is 
running (Playing or Recording) if the Sync Mode parameter (SYSTEM/ TEMPO /SYNC) is 
MASTER and MTC Sync Output parameter (SYSTEM /MIDI /MMC MTC) is ON. The 
transmitted time counts are summed to MTC Offset Time parameter (SYSTEM/MIDI/ 
MMC MTC) as the song top is "00:00:00:00/' 

The sequencer synchronizes with the time counts which are summed to MTC Offset Time 
parameter (SYSTEM /MIDI /MMC MTC) as the song top is "00:00:00:00" if the Sync Mode 
parameter (SYSTEM /TEMPO /SYNC) is SLAVE(MTC). 

Status Second 

FIH mmH (= Onnndddd) 

nnn = Message type : 

= Frame count LS nibble 

1 = Frame count MS nibble 

2 = Seconds count LS nibble 

3 = Seconds count MS nibble 

4 = Minutes count LS nibble 

5 = Minutes count MS nibble 

6 = Hours count LS nibble 

7 = Hours count MS nibble 

dddd = 4 bit nibble data : h - FH (0 - 15) 
Bit Field is assigned as follows. 



Frame Count 


xxxyyyyy 




XXX 


Reserved (000) 




yyyyy 


Frame No.(0-29) 




Seconds Count 


xxyyyyyy 






XX 


Reserved (00) 




yyyyyy 


Seconds (0-59) 


Minutes Count 


xxyyyyyy 






XX 


Reserved (00) 




yyyyyy 


Minutes (0-59) 


Hours Count 


xyyzzzzz 






X 


Reserved (0) 




yy 


Time Code type 




= 24 Frames / Sec 






1 = 25 Frames / Sec 






2 = 30 Frames / Sec (Drop Frame) 




3 = 30 Frames / Sec (Non Drop Frame 




zzzzz 


Hours (0-23) 



•Song Position Pointer 

Status 2nd byte 3rd byte 

F2H mmH UH 

mm, ll=value: 00 OOH - 7F 7FH (0 - 16383) 



■System Realtime Messages 
•Timing Clock 

Status 
F8H 

* Received when Sync Mode parameter (SYSTEM/TEMPO/SYNC) is set to SLAVE-MIDI. 

•Start 

Status 
FAH 

* Received when Sync Mode parameter (SYSTEM/TEMFO/SYNC) is set to SLAVE-MIDI 
or REMOTE. 

•Continue 

Status 
FBH 

* Received when Sync Mode parameter (SYSTEM/TEMPO/SYNC) is set to SLAVE-MIDI 
or REMOTE. 

•Stop 

Status 
FCH 

* Received when Sync Mode parameter (SYSTEM/TEMPO/SYNC) is set to SLAVE-MIDI 
or REMOTE. 




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■System Exclusive Message 
•MIDI Machine Control (MMC) 

* Received when the MMC Mode parameter (SYSTEM/MIDI/MMC MTC) is SLAVE. 
OSTOP (MCS) 



Status 


Data bvte Status 


FOH 


7FH, dev, 06H, OIH F7H 


Byte 


Remarks 


FOH 


Exclusive status 


7FH 


Universal System Exclusive Realtime Header 


7FH 


Device ID 


06H 


MMC command message 


OIH 


STOP (MCS) 


F7H 


FOX (End of Exclusive) 


ODEFERRED PLAY (MCS) 


Status 


Data bvte Status 


FOH 


7FH, dev, 06H, 03H F7H 


Byte 


Remarks 


FOH 


Exclusive status 


7FH 


Universal System Exclusive Realtime Header 


7FH 


Device ID 


06H 


MMC command message 


03H 


DEFERRED FLAY (MCS) 


F7H 


FOX (End of Exclusive) 



OLOCATE (MCP) 
OFormat2-LOCATE [TARGET] 

Status Data byte 

FOH 7FH, dev, 06H, 44H, 06H, OIH, 

hrH, mnH, scH, frH, ffH 



Status 
F7H 



Byte 


Remarks 


FOH 


Exclusive status 


7FH 


Universal System Exclusive Realtime Header 


7FH 


Device ID 


06H 


MMC command message 


44H 


LOCATE (MCP) 


06H 


Byte count 


OIH 


"TARGET" sub-Command 


hrH 


Standard Time Specification with subframes 


mnH 




scH 




frH 




ffH 




F7H 


EOX (End of Exclusive) 



4. Data Transmission (Sequencer Section) 

4.1 Messages transmitted during playing 

Recorded messages are transmitted during playback. 

4.2 Soft Thru setting 

Messages (except System Common and System Realtime Messages) that are received are 
then sent out when Soft Thru parameter (SYSTEM/MIDI) is switched to ON. 

4.3 Messages that are generated and transmitted 

4.3.1 Messages Appearing When Synchronizing 
with Other Devices 

■System Common Messages 

* Sent when Sync Output parameter (SYSTEM/TEMPO/SYNC) is set to ON. 



•Song Position Pointer 




Status 2nd bvte 


3rd bvte 


F2H mmH 


UH 


mm, ll=value; 00 OOH - 7F 7FH (0 


- 16383) 



■System Realtime Messages 

* Sent when Sync Output parameter (SYSTEM/TEMPO/SYNC) is set to ON. 

•Timing Clock 

Status 
F8H 

•Start 

Status 
FAH 

•Continue 

Status 
FBH 

•Stop 

Status 
FCH 

•Quarter Frame Messages 

Status 2nd byte 

FIH mmH (= Onnndddd) 

* Sent when Sync Mode parameter (SYSTEM/TEMPO/SYNC) is set to MASTER and 
MTC Sync Output parameter (SYSTEM/MIDI/MMC MTC) is set to ON. Furthermore, 
sending a Quarter Frame Message with "OOhOOmOOsOOfOO" at the beginning of the song 
adds the MTC Offset Time parameter (SYSTEM/MIDI/MMC MTC). 




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■System Exclusive Message 
•MIDI Time code 

OFull Message 

Full Messages are used, which encode the complete time into a single message. 
This message transmitted when the song position moves. 
Status Data Byte Status 

FOH, 7FH xxH, OIH, OIH, hrH, mnH, scH, frH F7H 



FOH, 7FH : 

xxH: 

OIH: 

OIH: 

hrH: 

yy type: 



zzzzz : 
mnH : 
scH: 
frH: 
F7H: 



Realtime Universal System Exclusive Header 

7F (Device ID) 

sub-ID #1 (MIDI Time code) 

sub-ID #2 (Full Message) 

hours and type: yy zzzzz 

00 = 24 Flame/sec 

01 = 25 Flame/sec 

10 = 30 Flame/sec 

11 = 30 Flame/sec 
Hours (00 - 23) 
Minutes (00 - 59) 
Seconds (00 - 59) 
Frames (00 - 29) 

FOX (End of Exclusive) 



»MIDI Machine Control (MMC) 

Not received when the MMC Mode parameter (SYSTEM/MIDI/MMC MTC) is Master. 



OSTOP (MCS) 




Status 


Data bvte Status 


FOH 


7FH, dev, 06H, OIH F7H 


Byte 


Remarks 


FOH 


Exclusive status 


7FH 


Universal System Exclusive Realtime Header 


7FH 


Device ID 


06H 


MMC command message 


OIH 


STOP (MCS) 


F7H 


FOX (End of Exclusive) 


ODEFFERRED PLAY (MCS) 


Status 


Data bvte Status 


FOH 


7FH, dev, 06H, 03H F7H 



Byte 
FOH 
7FH 
7FH 
06H 
03H 
F7H 



Remarks 

Exclusive status 

Universal System Exclusive Realtime Header 

Device ID 

MMC command message 

DEFERRED PLAY (MCS) 

FOX (End of Exclusive) 



OLOCATE (MCP) 
OFormat2-LOCATE [TARGET] 

Status Data byte 

FOH 7FH, dev, 06H, 44H, 06H, OIH, 

hrH, mnH, scH, frH, ffH 



Status 
F7H 



Byte 

FOH 

7FH 

7FH 

06H 

44H 

06H 

OIH 

hrH 

mnH 

scH 

frH 

ffH 

F7H 



Remarks 

Exclusive status 

Universal System Exclusive Realtime Header 

Device ID 

MMC command message 

LOCATE (MCP) 

Byte count 

"TARGET" sub-Command 

Standard Time Specification with subframes 



EOX (End of Exclusive) 



5. Parameter Address Map 

* Transmission of "#" marked address is divided to some packets. For example, ABH in 
hexadecimal notation will be divided to OAH and OBH, and is sent/received in this 
order. 

* "<*>" marked address or parameters are ignored when the JUNO-G received them. 

5.1 JUNO-G (ModellD = OOH OOH 15H) 



start 

Address 




Description 




01 00 00 


00 Setup 






02 00 00 


00 1 System 






10 00 00 


00 


Temporary 


Performance 




11 00 00 


00 


Temporary 


Patch/Rhythm (Performance Mode Part 


1) 


11 20 00 


00 


Temporary 


Patch/Rhythm (Performance Mode Part 


2) 


14 60 00 


00 


Temporary 


Patch/Rhythm (Performance Mode Part 


16) 


IE 00 00 


00 


Temporary 


Rhythm Pattern 




IE 01 00 


00 


Temporary 


Arpeggio (Performance Mode) 




IE 02 00 


00 


Temporary 


Chord (Performance Mode) 




IE 03 00 


00 


Temporary 


Rhythm Group (Performance Mode) 




IE 11 00 


00 


Temporary 


Arpeggio (Patch Mode) 




IE 12 00 


00 


Temporary 


Chord (Patch Mode) 




IE 13 00 


00 


Temporary 


Rhythm Group (Patch Mode) 




IP 00 00 


00 


Temporary 


Patch/Rhythm (Patch Mode Part 1) 




If 20 00 


00 


Temporary 


Patch/Rhythm (Patch Mode Part 2) 





OSystem 



Offset 






Address 




Description 


00 00 00 


Syste 


n Common 


00 02 00 


Syste 


n Mastering 


00 03 00 


Syste 


n External Input 


00 40 00 


Syste 


n Controller 



OTemporary Patch/Rhythm 



00 00 00 Temporary Patch 
10 00 00 Temporary Rhythm 



OPerformance 



Offset 






Address 




Description 


00 00 00 


Perform 


ince Common 


00 02 00 


Perform 


»nce Common MFXl 


00 04 00 


Perform 


»nce Common Chorus 


00 06 00 


Perform 


»nce Common Reverb 


00 08 00 


Perform 


»nce Common MFX2 


00 OA 00 


Perform 


»nce Common MFX3 


00 10 00 


Perform 


»nce MIDI (Channel 1) 


00 11 00 


Perform 


ince MIDI (Channel 2) 


00 If 00 


Perform 


»nce MIDI (Channel 16) 


00 20 00 


Perform 


»nce Part (Part 1) 


00 21 00 


Perform 


»nce Part (Part 2) 


00 2F 00 


Perform 


»nce Part (Part IS) 


00 50 00 


Perform 


»nce Zone (Channel 1) 


00 51 00 


Perform 


»nce Zone (Channel 2) 


00 5F 00 


Perform 


ince Zone (Channel 16) 


00 SO 00 


Perform 


»nce Controller 



OPatch 



Offset 




Address 


Description 


00 00 00 


Patch Common 


00 02 00 


Patch Common MFX 


00 04 00 


Patch Common Chorus 


00 06 00 


Patch Common Reverb 


00 10 00 


Patch TMT (Tone Mix Table) 


00 20 00 


Patch Tone (Tone 1) 


00 22 00 


Patch Tone (Tone 2) 


00 24 00 


Patch Tone (Tone 3) 


00 26 00 


Patch Tone (Tone 4) 



ORhythm 



Offset 






Address 




Description 


00 00 00 


Rhythm Com 


mon 


00 02 00 


Rhythm Com 


mon MFX 


00 04 00 


Rhythm Com 


mon Chorus 


00 06 00 


Rhythm Com 


mon Reverb 


00 10 00 


Rhythm Ton 


e (Key # 21) 


00 12 00 


Rhythm Ton 


e (Key # 22) 


01 3E 00 


Rhythm Ton 


e (Key # 108) 



OArpeggio 



Arpeggio Common 
Arpeggio Pattern 
Arpeggio Pattern 




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(^ 



OChord 



Offset 

Address 




Description 


00 00 00 


Chord Pattern 





ORhythm Group 



00 I Rhythm Group 



OSetup 



Off 


set 












Address 




Description 






00 


00 


0000 Oaaa 


Sound Mode 

PATCH, PERFORM, GMl , GM2 


(0 - 5) 

, GS, PIANO<*> 




00 


01 


Oaaa aaaa 


Performance Bank Select MSB (CC# 0] 


(0 - 127) 




00 


02 


Oaaa aaaa 


Performance Bank Select LSB (CC# 32) (0 - 127) 




00 


03 


Oaaa aaaa Performance Program Number (PC) 


(0 - 127) 




00 


04 


Oaaa aaaa 


Kbd Patch Bank Select MSB (CC# 0) 


(0 - 127) 




00 


OS 


Oaaa aaaa 


Kbd Patch Bank Select LSB (CC# 32) 


(0 - 127) 




00 


06 


Oaaa aaaa 


Kbd Patch Program Number (PC) 


(0 - 127) 




00 


07 


Oaaa aaaa 


Rhy Patch Bank Select MSB (CC# Oj 


(0 - 127) 




00 


08 


Oaaa aaaa 


Rhy Patch Bank Select LSB (CC# 32) 


(0 - 127) 




00 


09 


Oaaa aaaa 


Rhy Patch Program Number (PC) 


(0 - 127) 




00 


OA 


0000 000a 


MFXl Switch 


(0 - 1) 
BYPASS , ON 




00 


Ob 


0000 000a 


MFX2 Switch 


(0 - 1) 
BYPASS, ON 




00 


oc 


0000 000a 


MFX3 Switch 


(0 - 1) 
BYPASS, ON 




00 


OD 


0000 000a 


Chorus Switch 


(0 - 1) 
OFF, ON 




00 


OF 


0000 000a 


Reverb Switch 


(0 - 1) 
OFF, ON 




00 


Of 


0000 000a 


Input Effect Switch 


[0 - 1) 
OFF, ON 




00 


10 


0000 0000 


(reserve) <*> 






00 


11 


0000 0000 


(reserve) <•> 






00 


12 


0000 aaaa 


Transpose Value 


(59 - 70) 
-5 - +6 




00 


13 


0000 Oaaa 


Octave Shift 


(61 - 67) 
-3 - +3 




00 


14 


0000 Oaaa 


D Beam Select 

OFF, (reserv), 


(0 - 3) 

SOLO-SYN, ASGN 




00 


15 


0000 0000 


(reserve) <*> 






00 


16 


0000 0000 


(reserve) <•> 






00 


17 


Oaaa aaaa 


Arp/Ptn Grid 

04 , 08 , 

16 , 


(0 - 8) 
08L, 08H, 08t, 
16L, 16H, 16t 




00 


18 


Oaaa aaaa 


Arp/Ptn Duration 

30, 40, 50, 


(0 - 9) 

60, 70, 80, 90, 

100, 120, FUL 




00 


19 


0000 000a 


Arpeggio Switch 


(0 - 1) 

OFF, ON 




00 


lA 


Oaaa aaaa 


Arpeggio Bank 


(0 - 1) 

USER, PRESET 




00 


IB 


Oaaa aaaa 


Arpeggio Style 


(0 - 127) 
1 - 128 




00 


IC 


Oaaa aaaa 


Arpeggio Motif 


(0 - 11) 










UP/L, UP/H, UP/ , dn/L, dn/H, 










dn/ , Ud/L, Ud/H, Ud/ , rn/L, 












rn/ , PHRASE 




00 


ID 


0000 Oaaa 


Arpeggio Octave Range 


(61 - 67) 
-3 - +3 




00 


IE 


0000 000a 


Arpeggio Hold 


(0 - 1) 
OFF, ON 




00 


IF 


Oaaa aaaa 


Arpeggio Accent Rate 


(0 - 100) 




00 


20 


Oaaa aaaa 


Arpeggio Velocity 


(0 - 127) 
REAL, 1 - 127 




00 


21 


0000 0000 


(reserve) <*> 






00 


22 


Oaaa aaaa 


Rhythm Pattern Bank 


(0 - 1) 
USER, PRESET 


# 


00 


23 


0000 aaaa 












00 00 bbbb 


Rhythm Pattern Style 


(0 - 255) 
1 - 256 




00 


25 


0000 000a 


Rhythm Pattern Group Bank 


(0 - 1) 
USER, PRESET 




00 


26 


Oaaa aaaa 


Rhythm Pattern Group Number 


(0 - 31) 
1-32 




00 


27 


Oaaa aaaa 


Rhythm Pattern Accent Rate 


(0 - 100) 




00 


28 


Oaaa aaaa 


Rhythm Pattern Velocity 


(1 - 127) 




00 


29 


0000 000a 


Chord Switch 


(0 - 1) 
OFF, ON 




00 


2A 


Oaaa aaaa 


Chord Bank 


(0 - 1) 
USER, PRESET 




00 


2b 


OOaa aaaa 


Chord Form 


(0 - 63) 




00 


2C 


0000 0000 


(reserve) <*> 






00 


30 


0000 0000 


(reserve) <*> 






00 


31 


0000 000a 


Rolled Chord 


(0 - 1) 

OFF, ON 




00 


32 


0000 OOaa 


Rolled Chord Type 


(0 - 2) 










UP, DOWN, ALTERNATE 




00 


33 


OOaa aaaa 


Arpeggio Step 


(0 - 32) 
AUTO, 1-32 


00 


00 00 


34 


Total Size 







OSystem Common 



Off 


set 












Address 




Description 




# 


00 


00 


DODO aaaa 
DODO bbbb 
DODO cccc 












DODO dddd 


Master Tune 

-100. 


(24 - 2024) 
- 100. [cent] 




00 


04 


OOaa aaaa 


Master Key Shift 


(40 - 88) 

-24 - +24 




00 


05 


Oaaa aaaa 


Master Level 


(D - 127) 




00 


06 


DODO ODOa 


Scale Tune Switch 


(0 - 1) 
OFF. ON 




00 


07 


DODO ODOa 


Patch Remain 


(0 - 1) 
OFF. ON 




00 


08 


DODO ODOa 


Mix/Parallel 


(0 - 1) 
MIX. PARALLEL 












00 


09 


DO Da aaaa 


Performance Control Channel 


(0 - 16) 

1-16, OFF 




00 


OA 


DODO aaaa 


Kbd Patch Rx/Tx Channel 


(0 - 15) 
1-16 




00 


OB 


DODO ODOD 


(reserve) <*> 














00 


OC 


Oaaa aaaa 


Patch Scale Tune for C 


(0 - 127) 
-64 - +63 




00 


OD 


Oaaa aaaa 


Patch Scale Tune for C# 


(0 - 127) 
-64 - +63 




DO 


UE 


Oaaa aaaa 


Patch Scale Tune for D 


(D - 127) 
-64 - +63 




00 


OF 


Oaaa aaaa 


Patch Scale Tune for D# 


(D - 127) 
-64 - +63 




00 


ID 


Oaaa aaaa 


Patch Scale Tune for E 


(D - 127) 
-64 - +63 




00 


11 


Oaaa aaaa 


Patch Scale Tune for F 


(D - 127) 
-64 - +63 




00 


12 


Oaaa aaaa 


Patch Scale Tune for F# 


(D - 127) 
-64 - +63 




DO 


IJ 


Oaaa aaaa 


Patch Scale Tune for G 


(D - 127) 
-64 - +63 




DO 


14 


Oaaa aaaa 


Patch Scale Tune for G# 


(D - 127) 
-64 - +63 




DO 


15 


Oaaa aaaa 


Patch Scale Tune for A 


(D - 127) 
-64 - +63 




DO 


16 


Oaaa aaaa 


Patch Scale Tune for A# 


(D - 127) 
-64 - +63 




DO 


17 


Oaaa aaaa 


Patch Scale Tune for B 


(D - 127) 
-64 - +63 














00 


18 


Oaaa aaaa 


System Control 1 Source 


(0 - 97) 










OFF. CCOl - CC31, CC33 - CC95, | 












BEND, AFT | 




DO 


19 


Oaaa aaaa 


System Control 2 Source 


(0 - 97) 1 










OFF. CCOl - CC31, CC33 - CC95. | 












BEND, AFT 




DO 


lA 


Oaaa aaaa 


System Control 3 Source 


(0 - 97) 1 










OFF. CCOl - CC31, CC33 - CC95. | 












BEND, AFT | 




00 


IB 


Oaaa aaaa 


System Control 4 Source 


(0 - 97) 1 










OFF. CCOl - CC31, CC33 - CC95. | 












BEND, AFT 
















00 


IC 


DODO ODOa 


Receive Program Change 


(0 - 1) 

OFF. ON 




DO 


ID 


DODO ODOa 


Receive Bank Select 


(0 - 1) 
OFF. ON 


00 


00 00 


IE 


Total Size 







OSystem Mastering 



Offset 








Address 




Description 




DO 00 


OODO OOOa 


Mastering Switch 


(0 - 1) 

OFF. ON 


DO 01 


Oaaa aaaa 


Low band Attack tira 


3 (D - 100) 


DO 02 


Oaaa aaaa 


Low band Release ti 


ne (D - 100) 


DO 03 


DOaa aaaa 


Low band Threshold 


(0 ~ 36) 
-36, -35. -34, -33. -32, -31. 
-30, -29. -28, -27. -26, -25. 
-24, -23. -22, -21. -20, -19. 
-18, -17. -16, -15. -14, -13. 
-12. -11, -10. -9. -8. -7. 
6. -5. -4. -3. -2. -1. [dB] 


DO 04 


DODO aaaa 


Low band Ratio 


(0 - 13) 

1:1.0, 1:1.1. 1:1.2, 1:1.4. 

1:1.6, 1:1.8. 1:2.0, 1:2.5. 

1:3.2, 1:4.0. 1:5.6, 1:8.0. 

1:16, 1:INF 


DO 05 


DODa aaaa 


Low band Level 


(0 - 24) 

D. 1, 2. 3, 4. 5, 6. 7, 8. 

9. 10. 11. 12. 13. 14. 15. 

16. 17. 18. 19. 20. 21. 22. 

23, 24 [dB] 


DO 06 


Oaaa aaaa 


Mid band Attack tim 


3 (D - 100) 


DO 07 


Oaaa aaaa 


Mid band Release ti 


ne (D - 100) 


DO 08 




Mid band Threshold 


(0 - 36) 
-36, -35. -34, -33. -32, -31. 
-30, -29. -28, -27. -26, -25. 
-24, -23. -22, -21. -20, -19. 
-18, -17. -16, -15. -14, -13. 
-12. -11, -10. -9. -8. -7. 
6. -5. -4. -3. -2. -1. [dB] 


DO 09 


DODO aaaa 


Mid band Ratio 


(0 - 13) 

1:1.0, 1:1.1. 1:1.2, 1:1.4. 

1:1.6, 1:1.8. 1:2.0, 1:2.5. 

1:3.2, 1:4.0. 1:5.6, 1:8.0. 

1:16, 1:INF 


DO OA 


DODa aaaa 


Mid band Level 


(0 - 24) 

0. 1, 2. 3, 4. 5, 6. 7, 8. 

9. 10. 11. 12. 13. 14. 15. 

16. 17. 18. 19. 20. 21. 22. 

23, 24 [dB] 


DO OB 


Oaaa aaaa 


High band Attack ti 


ne (D - 100) 


DO OC 


Oaaa aaaa 


High band Release t 


me (D - 10 0) 


00 OD 


OOaa aaaa 


High band Threshold 


(0 - 36) 
-36, -35. -34, -33. -32, -31. 
-30, -29. -28, -27. -26, -25. 
-24, -23. -22, -21. -20, -19. 
-18, -17. -16, -15. -14, -13. 
-12. -11, -10. -9. -8. -7. 
6. -5. -4. -3. -2. -1. [dB] 


DO OE 


DODO aaaa 


High band Ratio 


(0 - 13) 

1:1.0, 1:1.1. 1:1.2, 1:1.4. 

1:1.6, 1:1.8. 1:2.0, 1:2.5. 

1:3.2, 1:4.0. 1:5.6, 1:8.0. 

1:16, 1:INF 


00 OF 


DODa aaaa 


High band Level 


(0 - 24) 

0. 1, 2. 3, 4. 5, 6. 7, 8. 

9. 10. 11. 12. 13. 14. 15. 

16, 17. 18. 19. 20. 21. 22. 




223 




JUNO-G_e.book 224'^-y 2006^2^130 ^BIH ^lt2a$445j- 



MIDI Implementation 



Split Freq Low 
Split Freq High 



2 3, 24 [ dB ] 



2000, 2500, 3150, 4000, 5000, 
6300, 8000 [Hz] 



00 00 00 12 I Total Si 



OSystem External Input 



Off 


set 

Address 




Description 








00 00 


Oaaa aaaa 


External Dry Send Level 


(0 - 127) 




00 01 


Oaaa aaaa 


External Chorus Send L 


evel 


(0 - 127) 




00 02 


Oaaa aaaa 


External Reverb Send L 


evel 


(0 - 127) 




00 03 


0000 aaaa 


External Output Assign 




(0 - 1) 
MFX, DRY 




00 04 


0000 OOaa 


External Output MFX Se 


.ect 


(0 - 2) 












MFXl, MFX2, MFX3 




00 05 


0000 aaaa 


Input Effect Type 




(1 - 6) 


# 


00 06 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Input Effect Parameter 


1 


(12768 - 52768) 
-20000 - +20000 


# 


00 OA 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Input Effect Parameter 


2 


(12768 - 52768) 
-20000 - +20000 


# 


00 OE 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Input Effect Parameter 


3 


(12768 - 52768) 
-20000 - +20000 


# 


00 12 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Input Effect Parameter 


4 


(12768 - 52768) 
-20000 - +20000 


# 


00 16 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Input Effect Parameter 


5 


(12768 - 52768) 
-20000 - +20000 


# 


00 lA 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Input Effect Parameter 


6 


(12768 - 52768) 
-20000 - +20000 


# 


00 IE 


0000 aaaa 
00 00 bbbb 

0000 cccc 












0000 dddd 


Input Effect Parameter 


7 


(12768 - 52768) 
-20000 - +20000 


# 


00 22 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Input Effect Parameter 


8 


(12768 - 52768) 
-20000 - +20000 


# 


00 26 


0000 aaaa 
00 00 bbbb 
0000 cccc 












00 00 dddd 


Input Effect Parameter 


9 


(12768 - 52768) 
-20000 - +20000 


# 


00 2a 


0000 aaaa 
00 00 bbbb 

0000 cccc 












0000 dddd 


Input Effect Parameter 


10 


(12768 - 52768) 
-20000 - +20000 


# 


00 2e 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Input Effect Parameter 


11 


(12768 - 52768) 
-20000 - +20000 


# 


00 32 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Input Effect Parameter 


12 


(12768 - 52768) 
-20000 - +20000 


# 


00 36 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Input Effect Parameter 


13 


(12768 - 52768) 
-20000 - +20000 


# 


00 3a 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Input Effect Parameter 


14 


(12768 - 52768) 
-20000 - +20000 


# 


00 3E 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Input Effect Parameter 


15 


(12768 - 52768) 
-20000 - +20000 


# 


00 42 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Input Effect Parameter 


16 


(12768 - 52768) 
-20000 - +20000 


# 


00 46 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Input Effect Parameter 


17 


(12768 - 52768) 
-20000 - +20000 


# 


00 4A 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Input Effect Parameter 


18 


(12768 - 52768) 
-20000 - +20000 


# 


00 4E 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Input Effect Parameter 


19 


(12768 - 52768) 
-20000 - +20000 


# 


00 52 


0000 aaaa 
00 00 bbbb 

0000 cccc 












0000 dddd 


Input Effect Parameter 


20 


(12768 - 52768) 
-20000 - +20000 


00 


00 00 56 


Total Size 









OSystem Controller 



Offset 

Address 




Description 


00 00 DODO 000a Transmit Program Change (0 - 1) 

OFF. ON 

00 01 0000 ODOa Transmit Bank Select (0 ~ 1) 

OFF. ON 

00 02 Oaaa aaaa Keyboard Velocity (0 - 127) 

REAL, 1 - 127 

DO 03 DODO OOaa Keyboard Sens (D - 2) 

LIGHT, MEDIUM, HEAVY 

DO 04 DODO ODOD (reserve) <*> 


00 05 DODO Oaaa Hold Pedal Polarity (0 - 1) 

STANDARD, REVERSE 

00 OS DODO ODOa Continuous Hold Pedal (0 - 1) 

OFF. ON 


DO 07 Oaaa aaaa Pedal Assign (0 - 111) 

CCOl - CC31, CC33 - CC95. 

BEND-UP, BEND-DOWN, AFT. 

OCT-UP. OCT-DOWN. 

START/STOP. PUNCH-I/0, TAP-TEMPO. 

PROG-UP , PROG-DOWN . 

FAV-UP. FAV-DOWN. ARP-SW. 

RHY-START/STOP, CHD-SW, 

LIVESET-UP. LIVESET-DOWN, SEQ-LOOP 

DO 08 DODO Oaaa Pedal Polarity (0 - 1) 

STANDARD, REVERSE 


00 03 
00 OA 

DO OB 

DO OC 
DO OD 

DO 4b 


0000 aaaa 
Oaaa aaaa 

Oaaa aaaa 

Oaaa aaaa 
DODO ODOD 

DODO ODOD 


Beam Sens (1 - 10) 

Beam Assign (0 - 104) 

CCOl - CC31, CC33 - CC95. 

BEND-UP , BEND-DOWN . 

START/ STOP , TAP-TEMPO . 

ARP-GRID. ARP-DUR, ARP-MOTIF. 

ARP-OCT-UP. ARP-OCT-DW. ARP-STEP. 

AFT 

Beam Range Lower (D - 127) 

Beam Range Upper (0 - 127) 
(reserve) <*> 

(reserve) <*> 


00 00 DO 4C 


Total Size 





OPerformance Common 



Offset 










Address 






Description 




00 00 


Oaaa 


aaaa 


Performance Name 1 


(32 - 127) 
32 - 127 [ASCII] 


DO 01 


Oaaa 


aaaa 


Performance Name 2 


(32 - 127) 
32 - 127 [ASCII] 


DO 02 


Oaaa 


aaaa 


Performance Name 3 


(32 - 127) 
32 - 127 [ASCII] 


DO 03 


Oaaa 


aaaa 


Performance Name 4 


(32 - 127) 
32 - 127 [ASCII] 


DO 04 


Oaaa 


aaaa 


Performance Name 5 


(32 - 127) 
32 - 127 [ASCII] 


DO 05 


Oaaa 


aaaa 


Performance Name 6 


(32 - 127) 
32 - 127 [ASCII] 


DO 06 


Oaaa 


aaaa 


Performance Name 7 


(32 - 127) 
32 - 127 [ASCII] 


DO 07 


Oaaa 


aaaa 


Performance Name 8 


(32 - 127) 
32 - 127 [ASCII] 


DO 08 


Oaaa 


aaaa 


Performance Name 9 


(32 - 127) 
32 - 127 [ASCII] 


DO 09 


Oaaa 


aaaa 


Performance Name 10 


(32 - 127) 
32 - 127 [ASCII] 


DO OA 


Oaaa 


aaaa 


Performance Name 11 


(32 - 127) 
32 - 127 [ASCII] 


DO OB 


Oaaa 


aaaa 


Performance Name 12 


(32 - 127) 
32 - 127 [ASCII] 












00 OC 


OOaa 


aaaa 


Solo Part Select 


(0 - 16) 
OFF. 1-15 


DO OD 


DODa 


aaaa 


MFXl Control Channel 


(0 - 15) 

1-16, OFF 


DO OE 


DODO 


ODOD 


(reserve) <*> 




00 OF 


DODO 


ODOD 


(reserve) <*> 














00 ID 


Oaaa 


aaaa 


Voice Reserve 1 


(0 - 64) 

0-63. FULL 


DO 11 


Oaaa 


aaaa 


Voice Reserve 2 


(0 - 64) 

0-63. FULL 


DO 12 


Oaaa 


aaaa 


Voice Reserve 3 


(0 - 64) 
0-63. FULL 


DO 13 


Oaaa 


aaaa 


Voice Reserve 4 


(0 - 64) 

0-63. FULL 


DO 14 


Oaaa 


aaaa 


Voice Reserve 5 


(0 - 64) 

0-63. FULL 


DO 15 


Oaaa 


aaaa 


Voice Reserve 5 


(0 - 64) 

0-63. FULL 


DO 16 


Oaaa 


aaaa 


Voice Reserve 7 


(0 - 64) 

0-63. FULL 


DO 17 


Oaaa 


aaaa 


Voice Reserve 8 


(0 - 64) 

0-63. FULL 


DO 18 


Oaaa 


aaaa 


Voice Reserve 9 


(0 - 64) 

0-63. FULL 


DO 19 


Oaaa 


aaaa 


Voice Reserve 10 


(0 - 64) 

0-63. FULL 


DO lA 


Oaaa 


aaaa 


Voice Reserve 11 


(0 - 64) 

0-63. FULL 


DO IB 


Oaaa 


aaaa 


Voice Reserve 12 


(0 - 64) 

0-63. FULL 


DO IC 


Oaaa 


aaaa 


Voice Reserve 13 


(0 - 64) 

0-63. FULL 


DO ID 


Oaaa 


aaaa 


Voice Reserve 14 


(0 - 64) 

0-63. FULL 


DO IE 


Oaaa 


aaaa 


Voice Reserve 15 


(0 - 64) 

0-63. FULL 


DO IF 


Oaaa 


aaaa 


Voice Reserve 16 


(0 - 64) 
0-63. FULL 


DO 20 


DODO 


ODOD 


(reserve) <*> 




DO 2F 


DODO 


ODOD 


(reserve) <*> 














00 3D 


OOaa 


aaaa 


MFXl Source 


(0 - 15) 

PERFORM. 1-15 


DO 31 


OOaa 


aaaa 


MFX2 Source 


(0 - 15) 

PERFORM. 1-15 


DO 32 


OOaa 


aaaa 


MFX3 Source 


(0 - 15) 

PERFORM. 1-15 


DO 33 


OOaa 


aaaa 


Chorus Source 


(0 - 15) 




224 




JUNO-G_e.book 225 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



MIDI Implementation 



00 35 

00 36 
00 37 



MFX2 Control Channel 
MFX3 Control Channel 
MFX Structure 



PERFORM, 1 


- 16 


(0 


- 16) 


PERFORM, 1 


- 16 


(0 


- 16) 


1 - 16, 


OFF 


(0 


- 16) 


1 - 16, 


OFF 


(0 


- 15) 



00 00 00 38 



OPerformance Common MFX 



Off 


set 
Address 






Description 






00 00 


Oaaa 


.a.a 


MFX Type 


(0 - 78) 

- 127 




00 01 


Oaaa 


aaaa 


MFX Dry Send Level 


(0 - 127) 




00 02 


Oaaa 


aaaa 


MFX Chorus Send Level 


(0 - 127) 




00 03 


Oaaa 


aaaa 


MFX Reverb Send Level 


(0 - 127) 




00 04 


0000 


OOaa 


MFX Output Assign 


(0 - 3) 

A, B, , 




00 05 


Oaaa 


aaaa 


MFX Control 1 Source 

OFF, 


(0 - 101) 

CCOl - CC31, CC33 - CC95, 

BEND, AFT, SYSl - SYS4 




00 06 


Oaaa 


aaaa 


MFX Control 1 Sens 


(1 - 127) 
-63 - +63 




00 07 


Oaaa 


aaaa 


MFX Control 2 Source 

OFF, 


(0 - 101) 

CCOl - CC31, CC33 - CC95, 

BEND, AFT, SYSl - SYS4 




00 08 


Oaaa 


aaaa 


MFX Control 2 Sens 


(1 - 127) 
-63 - +63 




00 09 


Oaaa 


aaaa 


MFX Control 3 Source 

OFF, 


(0 - 101) 

CCOl - CC31, CC33 - CC95, 

BEND, AFT, SYSl - SYS4 




00 OA 


Oaaa 


aaaa 


MFX Control 3 Sens 


(1 - 127) 
-63 - +63 




00 OB 


Oaaa 


aaaa 


MFX Control 4 Source 

OFF, 


(0 - 101) 

CCOl - CC31, CC33 - CC95, 

BEND, AFT, SYSl - SYS4 




00 oc 


Oaaa 


aaaa 


MFX Control 4 Sens 


(1 - 127) 

-63 - +63 
















00 OD 


000a 


aaaa 


MFX Control Assign 1 


(0 - 16) 

OFF, 1-16 




00 OE 


000a 


aaaa 


MFX Control Assign 2 


(0 - 16) 

OFF, 1-16 




00 OF 


000a 


aaaa 


MFX Control Assign 3 


(0 - 16) 
OFF, 1-16 




00 10 


000a 


aaaa 


MFX Control Assign 4 


(0 - 16) 
OFF, 1-16 


# 


00 11 


0000 
0000 
0000 


bbbb 

cccc 










0000 


dddd 


MFX Parameter 1 


(12768 - 52768) 
-20000 - +20000 


# 


00 15 


0000 
0000 
0000 


bbbb 










0000 


dddd 


MFX Parameter 2 


(12768 - 52768) 
-20000 - +20000 


# 


00 19 


0000 
0000 
0000 


bbbb 










0000 


dddd 


MFX Parameter 3 


(12768 - 52768) 
-20000 - +20000 


# 


00 Id 


0000 
0000 
0000 


bbbb 

cccc 










0000 


dddd 


MFX Parameter 4 


(12768 - 52768) 
-20000 - +20000 


# 


00 21 


0000 
0000 
0000 


bbbb 

cccc 










0000 


dddd 


MFX Parameter 5 


(12768 - 52768) 
-20000 - +20000 


# 


00 25 


0000 
0000 
0000 


bbbb 










0000 


dddd 


MFX Parameter 6 


(12768 - 52768) 
-20000 - +20000 


# 


00 29 


0000 
0000 
0000 


bbbb 










0000 


dddd 


MFX Parameter 7 


(12768 - 52768) 
-20000 - +20000 


# 


00 2d 


0000 
0000 
0000 


bbbb 

cccc 










0000 


dddd 


MFX Parameter 8 


(12768 - 52768) 
-20000 - +20000 


# 


00 31 


0000 
0000 
0000 


bbbb 

cccc 










0000 


dddd 


MFX Parameter 9 


(12768 - 52768) 
-20000 - +20000 


# 


00 35 


0000 
0000 
0000 


bbbb 

cccc 










0000 


dddd 


MFX Parameter 10 


(12768 - 52768) 
-20000 - +20000 


# 


00 39 


0000 
0000 
0000 


bbbb 

cccc 










0000 


dddd 


MFX Parameter 11 


(12768 - 52768) 
-20000 - +20000 


# 


00 3D 


0000 
0000 
0000 


bbbb 










0000 


dddd 


MFX Parameter 12 


(12768 - 52768) 
-20000 - +20000 


# 


00 41 


0000 
0000 
0000 


bbbb 

cccc 










0000 


dddd 


MFX Parameter 13 


(12768 - 52768) 
-20000 - +20000 


# 


00 45 


0000 
0000 
0000 


bbbb 

cccc 










0000 


dddd 


MFX Parameter 14 


(12768 - 52768) 
-20000 - +20000 


# 


00 49 


0000 
0000 
0000 


bbbb 

cccc 










0000 


dddd 


MFX Parameter 15 


(12768 - 52768) 
-20000 - +20000 


# 


00 4d 


0000 
0000 
0000 


bbbb 










0000 


dddd 


MFX Parameter 16 


(12768 - 52768) 
-20000 - +20000 



DODO : 

0000 . 

0000 . 

0000 . 

0000 : 

0000 . 

0000 . 

0000 . 

0000 : 

0000 . 

0000 . 

0000 . 

0000 : 

0000 . 

0000 . 

0000 . 

0000 : 

0000 . 

0000 . 

0000 . 

0000 : 

0000 . 

0000 . 

0000 . 
0000 
0000 
0000 

0000 . 

0000 : 

0000 . 

0000 . 

0000 . 

0000 : 

0000 . 

0000 . 

0000 . 

0000 : 

0000 . 

0000 . 

0000 . 

0000 : 

0000 . 

0000 . 

0000 . 

0000 : 

0000 . 

0000 . 

0000 . 

0000 : 

0000 . 

0000 . 

0000 . 

0000 : 

0000 . 

0000 . 

0000 . 

0000 : 

0000 . 

0000 . 

0000 
0000 
0000 
0000 



bbbb 
dddd 



bbbb 
dddd 



00 00 01 11 I Total Si' 



OPerformance Common Chorus 



Off 


Addr 


=ss 






Description 






00 


00 


00 aaaa 


Chor 


us Type 


(0 - 3) 




00 


01 


Oaaa aaaa 


Chor 


us Level 


(0 - 127) 




00 


02 


0000 OOaa 


Chor 


us Output Assign 


(0 - 3) 

A, B. , 




00 


03 


0000 OOaa 


Chor 


us Output Select 


(0 - 2) 

MAIN, REV. MAIN+REV 


# 


00 


04 


0000 aaaa 
00 bbbb 
OOOO cccc 














0000 dddd 


Chorus Parameter 1 


(12768 - 52768) 














-20000 - +20000 


# 


00 


08 


0000 aaaa 
0000 bbbb 
0000 cccc 














0000 dddd 


Chor 


us Parameter 2 


(12768 - 52768) 
-20000 - +20000 


# 


00 


OC 


0000 aaaa 
0000 bbbb 
0000 cccc 














0000 dddd 


Chor 


us Parameter 3 


(12768 - 52768) 
-20000 - +20000 


# 


00 


10 


0000 aaaa 
0000 bbbb 
0000 cccc 














0000 dddd 


Chor 


us Parameter 4 


(12768 - 52768) 
-20000 - +20000 


# 


00 


14 


0000 aaaa 
0000 bbbb 
0000 cccc 














0000 dddd 


Chor 


us Parameter 5 


(12768 - 52768) 
-20000 - +20000 


# 


00 


18 


00 aaaa 
0000 bbbb 
0000 cccc 














00 dddd 


Chor 


us Parameter 6 


(12768 - 52768) 
-20000 - +20000 


# 


00 


IC 


0000 aaaa 
0000 bbbb 
0000 cccc 














0000 dddd 


Chor 


us Parameter 7 


(12768 - 52768) 
-20000 - +20000 


# 


00 


20 


0000 aaaa 
0000 bbbb 
0000 cccc 














0000 dddd 


Chor 


us Parameter 8 


(12768 - 52768) 
-20000 - +20000 




225 




JUNO-G_e.book 226 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



MIDI Implementation 



(^ 



0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 



Chorus Parameter 9 



Chorus Parameter 10 



Chorus Parameter 11 



Chorus Parameter 12 



Chorus Parameter 13 



Chorus Parameter 14 



Chorus Parameter 15 



Chorus Parameter 16 



Chorus Parameter 17 



Chorus Parameter 18 



Chorus Parameter 19 



Chorus Parameter 2 



00 00 00 54 



OPerformance Common Reverb 



Off 


set 

Address 




Description 








00 00 


0000 aaaa 


Reverb Type 




(0 - 5) 




00 01 


Oaaa aaaa 


Reverb Level 




(0 - 127) 




00 02 


0000 OOaa 


Reverb Output As 


sign 


(0 - 3) 

A, B, , 














# 


00 03 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


1 


(12768 - 52768) 
-20000 - +20000 


# 


00 07 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


2 


(12768 - 52768) 
-20000 - +20000 


# 


00 Ob 


0000 aaaa 
00 00 bbbb 
0000 cccc 












00 00 dddd 


Reverb Parameter 


3 


(12768 - 52768) 
-20000 - +20000 


# 


00 OF 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


4 


(12768 - 52768) 
-20000 - +20000 


# 


00 13 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


5 


(12768 - 52768) 
-20000 - +20000 


# 


00 17 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


6 


(12768 - 52768) 
-20000 - +20000 


# 


00 IB 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


7 


(12768 - 52768) 
-20000 - +20000 


# 


00 IF 


0000 aaaa 
00 00 bbbb 

0000 cccc 












0000 dddd 


Reverb Parameter 


8 


(12768 - 52768) 
-20000 - +20000 


# 


00 23 


0000 aaaa 
00 00 bbbb 

0000 cccc 












0000 dddd 


Reverb Parameter 


9 


(12768 - 52768) 
-20000 - +20000 


# 


00 27 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


10 


(12768 - 52768) 
-20000 - +20000 


# 


00 2b 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


11 


(12768 - 52768) 
-20000 - +20000 


# 


00 2f 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


12 


(12768 - 52768) 
-20000 - +20000 


# 


00 33 


0000 aaaa 
00 00 bbbb 









DODO dddd 



0000 bbbb 



DODO dddd 


Reverb Par 


0000 aaaa 




0000 bbbb 




0000 cccc 




0000 dddd 


Reverb Par 



0000 dddd 



0000 dddd 



0000 dddd 



0000 dddd 

00 aaaa 

00 bbbb 

OOOO cccc 

000 dddd 



Reverb Parameti 



Reverb Para' 



Reverb Paramet 



Reverb Parameti 



Reverb Parat 



Reverb Paramet 



OPerformance MIDI 



OPerformance Part 



0000 
0000 



; Channel 
; Switch 



0000 
0000 
OODa 
0000 



Part Coarse Tune (RPN# 2) 

Part Fine Tune (RPN# 1) 

Part Mono/Poly (MONO ON/POLY ON) 

Part Legato Switch (CC# 58 

Part Pitch Bend Range (RPN# 0) 

Part Portamento Switch (CC# 65) 

Part Portamento Time (CC# 5) 
Part Cutoff Offset (CC# 74) 
Part Resonance Offset (CC# 71) 
Part Attack Time Offset (CC# 73) 
Part Release Time Offset (CC# 72) 



(0 - 127) 

(0 - 127) 

L64 - 53R 

(15 - 112) 

-48 - +48 

(14 - 114) 

-50 - +50 

(0 - 2) 

MONO , POLY , PATCH 



(0 



2) 



OFF, ON, PATCH 

(0 - 25) 

- 24, PATCH 

(0 - 2) 

OFF, ON, PATCH 

(0 - 128) 
- 12 7, PATCH 
127) 

■ +63 
127) 

■ +63 
127) 
+ 63 
127) 

■ +63 



0000 
0000 



0000 
0000 



e Shift 

ity Sens Offs 



- 67) 

- +3 

127) 



OFF, MUTE 



Offset 












Address 






Description 






00 00 


DODO OOOa 


Recei 


ve Program Change 


(0 
OFF, 


- 1) 
ON 


00 01 


DODO OOOa 


Recei 


ve Bank Select 


(0 

OFF. 


- 1) 
ON 


00 02 


DODO OOOa 


Recei 


ve Bender 


(0 

OFF. 


- 1) 
ON 


DO 03 


DODO OOOa 


Recei 


ve Polyphonic Key Pressure 


(0 

OFF. 


- 1) 
ON 


00 04 


DODO OOOa 


Recei 


ve Channel Pressure 


(0 

OFF. 


- 1) 
ON 


00 05 


DODO OOOa 


Recei 


ve Modulation 


(0 

OFF. 


- 1) 
ON 


00 05 


DODO OOOa 


Recei 


ve Volume 


(0 

OFF. 


- 1) 
ON 


DO 07 


DODO OOOa 


Recei 


ve Pan 


(0 

OFF. 


- 1) 
ON 


DO 08 


DODO OOOa 


Recei 


ve Expression 


(0 

OFF. 


- 1) 
ON 


DO 09 


DODO OOOa 


Recei 


ve Hold-1 


(0 

OFF. 


- 1) 
ON 














00 OA 


DODO OOOa 


Phase 


Lock 


(0 

OFF. 


- 1) 
ON 


00 OB 


0000 Oaaa 


Veloc 


ity Curve Type 


(0 

OFF, 1 


- 4) 

- 4 


DO 00 DO OC 


Total Size 











00 


04 


Oaa 


i aaaa 


Patch 


Bank 


Self 


r-r. 


MSB 


(CC# 


0) 


(0 


127) 


00 


05 


Oaa 


h aaaa 


Patch 


Bank 


Sele 


ct 


LSB 


(CC# 


32) 


(0 


127) 


00 


U5 


Oaa 


■, aaaa 


Patch 


Program Number 


PC) 




(0 


127) 



Dry Send Level 

Chorus Send Level (CC# 93) 

Reverb Send Level (CC# 91) 



(0 - 127) 
(0 - 127) 
(0 - 127) 




226 




JUNO-G_e.book 227 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



MIDI Implementation 



(^ 



Part Output Assign 



Part Output MFX Sele 



PATCH 

(0 - 2) 

MFXl, MFX2 , MFX3 



00 21 



Part Decay Time Offset (CC# 75) 



00 22 

00 23 
00 24 



00 25 

00 26 

00 27 

00 28 

00 29 

00 2A 

00 2B 

00 2C 

00 2D 

00 2E 

00 2F 

00 30 



Part 


Vibrato Rate (CC# 76) 


Part 


Vibrato Depth 


CCS 77 


Part 


Vibrato Delay 


CC» 78 


Part 


Scale 


Tune 


for 


C 


Part 


Scale 


Tune 


for 


c# 


Part 


Scale 


Tune 


for 


D 


Part 


Scale 


Tune 


for 


D# 


Part 


Scale 


Tune 


for 


E 


Part 


Scale 


Tune 


for 


F 


Part 


Scale 


Tune 


for 


F# 


Part 


Scale 


Tune 


for 


G 


Part 


Scale 


Tune 


for 


G# 


Part 


Scale 


Tune 


for 


A 


Part 


Scale 


Tune 


for 


A# 


Part 


Scale 


Tune 


for 


B 



00 00 00 31 



OPerformance Zone 



Off 


set 

Address 




Description 








00 00 


0000 0000 


(reserve) <*> 








00 01 


0000 000a 


Zone Switch 




(0 - 1) 
OFF, ON 




00 02 


0000 0000 


(reserve) <*> 






# 


00 03 


0000 aaaa 












00 00 bbbb 


External Bank Select MSB 


(CC# 0) 




(0 - 128) 
127, NO-SEND 




00 05 


Oaaa aaaa 


External Bank Select LSB 


(CC# 32) 


(0 - 127) 


# 


00 06 


0000 aaaa 












00 00 bbbb 


External Program Number 


PCI 




(0 - 128) 
127, NO-SEND 


# 


00 08 


0000 aaaa 












00 00 bbbb 


External Level {CCS 7) 





(0 - 128) 
127, NO-SEND 


# 


00 OA 


0000 aaaa 












00 00 bbbb 


External Pan (CC# 10) 


L64 


(0 - 128) 

63R, NO-SEND 




00 OC 


Oaaa aaaa 


Keyboard Range Lower 




(0 - 127) 
C-1 - UPPER 




00 OD 


Oaaa aaaa 


Keyboard Range Upper 




(0 - 127) 

LOWER - G9 




00 OE 


0000 000a 


Control Bender 




(0 - 1) 

OFF, ON 




00 OF 


0000 0000 


(reserve) <*> 








00 10 


0000 000a 


Control Modulation 




(0 - 1) 
OFF, ON 




00 11 


0000 000a 


Control Hold Pedal 




(0 - 1) 
OFF, ON 




00 12 


0000 000a 


Control Pedal 




(0 - 1) 
OFF, ON 




00 13 


0000 0000 


(reserve) <*> 








00 14 


0000 000a 


Control D Beam 




(0 - 1) 
OFF, ON 




00 15 


0000 0000 


(reserve) <*> 








00 lA 


0000 0000 


(reserve) <'> 






00 


00 00 IB 


Total Size 









OPerformance Controller 



00 02 

00 03 
00 04 



0000 0000 



. Range Lower 
. Range Upper 



{0 - 104) 
CCOl - CC31, CC33 - CC95, 

BEND-UP, BEND-DOWN, 

START /STOP, TAP-TEMPO, 

ARP-GRID, ARP-DUR, ARP-MOTIF, 

ARP-OCT-UP , ARP-OCT-DW, ARP_STEP , 

APT 

(0 - 127) 

(0 - 127) 



00 OD 

00 OF 

00 OF 

00 10 

00 11 

00 12 

00 13 



0000 000a 



Arp/Ptn Grid 

Arp/Ptn Duration 

Arpeggio Switch 
Arpeggio Bank 

Arpeggio Style 
Arpeggio Motif 





04 , 


08 


08L, 08H, 


08t, 






16_ 


16L, 16H, 
(0 


16t 
- 9) 


30 


40, 


50, 


60, 70, 80 

100, 120, 

(0 

OFF 

(0 


90, 

FUL 

- 1) 
ON 

- 1) 








USER, PRESET 








(0 - 


127) 








1 - 


128 








(0 


11) 


/L 


UP/H, UP/_, dn/L, dn/H, 



00 IC 

00 ID 



DODO 
0000 



0000 
0000 



dn / _ , Ud / L . 



Arpeggio Octa 

Arpeggio Hold 

Arpeggio Acce 
Arpeggio Velo 

Arpeggio Zone 

Rhythm Patter 

Rhythm Patter 

Rhythm Patter 

Rhythm Patter 
Rhythm Patter 



1 Group Bank 
1 Group Numbe 



L Accent Rate 
I Velocity 



/H. Ud/ . 


-n/L, 


rn/ 


. PHRASE 




(51 
-3 


67) 
+ 3 




(0 


- 1) 




OFF 


ON 




(0 - 


100) 




(0 - 


127) 


REAL 


1 - 


127 




(0 


15) 


ZONEl 


- ZONEl S 




(0 


- 1) 




OFF 


ON 




(0 


- 1) 


USER. PRESET 




(0 


31) 




1 


32 




(0 - 


100) 




(1 - 


127) 



00 IE 
00 IF 

00 20 



Chord Switch 
Chord Group 
Chord Form 



00 21 
00 53 



0000 
0000 



0000 
0000 



00 56 

00 57 



0000 000 
0000 00a 



Rolled Chord 
Rolled Chord Type 



OArpeggio Common 



OArpeggio Pattern 



USER, PRESET 

(0 - 63) 



UP , DOWN , ALTERNATE 



Offset 










Address 




Description 






# 00 00 


0000 aaaa 










0000 bbbb 


End Step 


(1 


- 32) 


# 00 00 


0000 aaaa 










0000 bbbb 


End Step 


(1 


- 32) 








00 02 


Oaaa aaaa 


Arpeggio Name 1 


(32 - 


127) 


00 03 


Oaaa aaaa 


Arpeggio Name 2 


(32 - 


127) 


00 04 


Oaaa aaaa 


Arpeggio Name 3 


(32 - 


127) 


00 05 


Oaaa aaaa 


Arpeggio Name 4 


(32 - 


127) 


DO 06 


Oaaa aaaa 


Arpeggio Name 5 


(32 - 


127) 


DO 07 


Oaaa aaaa 


Arpeggio Name 6 


(32 - 


127) 


DO 08 


Oaaa aaaa 


Arpeggio Name 7 


(32 - 


127) 


00 09 


Oaaa aaaa 


Arpeggio Name 8 


(32 - 


127) 


OA 


Oaaa aaaa 


Arpeggio Name 9 


(32 - 


127) 


00 OB 


Oaaa aaaa 


Arpeggio Name 10 


(32 - 


127) 


DO OC 


Oaaa aaaa 


Arpeggio Name 11 


(32 - 


127) 


00 OD 


Oaaa aaaa 


Arpeggio Name 12 


(32 - 


127) 


DO OE 


Oaaa aaaa 


Arpeggio Name 13 


(32 - 


127) 


00 OF 


Oaaa aaaa 


Arpeggio Name 14 


(32 - 


127) 


00 10 


Oaaa aaaa 


Arpeggio Name 15 


(32 - 


127) 


00 11 


Oaaa aaaa 


Arpeggio Name 16 


(32 - 


127) 


00 00 00 12 


Total Size 









Offset 








Address 




Description 




# 00 00 


0000 aaaa 








0000 bbbb 


Original Note 


- 128) 


# 00 00 


0000 aaaa 








00 bbbb 


Original Note 


- 128) 








# 00 02 


0000 aaaa 








000 bbbb 


Stepl Data 


- 128) 


# 00 04 


0000 aaaa 








0000 bbbb 


Step2 Data 


- 128) 


# 00 06 


0000 aaaa 








000 bbbb 


Step3 Data 


- 128) 


# 00 08 


00 aaaa 








00 bbbb 


Step4 Data 


- 128) 


# 00 OA 


0000 aaaa 








0000 bbbb 


Step5 Data 


- 128) 


# 00 OC 


0000 aaaa 








0000 bbbb 


Step6 Data 


- 128) 


# 00 OE 


0000 aaaa 








00 bbbb 


Step7 Data 


- 128) 


# 00 10 


00 aaaa 








0000 bbbb 


Step8 Data 


- 128) 


# 00 12 


0000 aaaa 








0000 bbbb 


Step9 Data 


- 128) 


# 00 14 


0000 aaaa 








0000 bbbb 


SteplO Data 


- 128) 


# 00 16 


0000 aaaa 








0000 bbbb 


Stepll Data 


- 128) 


# 00 18 


0000 aaaa 








0000 bbbb 


Stepl2 Data 


- 128) 


# lA 


00 aaaa 








0000 bbbb 


Stepl3 Data 


- 128) 


# 00 IC 


0000 aaaa 








0000 bbbb 


Stepl4 Data 


- 128) 


# 00 IE 


0000 aaaa 








0000 bbbb 


Stepl5 Data 


- 128) 


# 00 20 


0000 aaaa 








0000 bbbb 


Stepl6 Data 


- 128) 


# 00 22 


0000 aaaa 








0000 bbbb 


Stepl7 Data 


- 128) 


# 00 24 


0000 aaaa 








227 




JUNO-G_e.book 228 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



MIDI Implementation 









0000 


bbbb 


SteplS 


Dat 




00 


26 


0000 


aaaa 












0000 


bbbb 


Stepl9 


Dat 




00 


28 


0000 


aaaa 












0000 


bbbb 


Step20 


Dat 




00 


2A 


0000 


aaaa 












0000 


bbbb 


Step21 


Dat 




00 


2C 


0000 


aaaa 












0000 


bbbb 


Step22 


Dat 




00 


2e 


0000 


aaaa 












0000 


bbbb 


Step23 


Dat 




00 


30 


0000 


aaaa 












0000 


bbbb 


Step24 


Dat 




00 


32 


0000 


aaaa 












0000 


bbbb 


Step25 


Dat 




00 


34 


0000 


aaaa 












0000 


bbbb 


Step26 


Dat 




00 


3fi 


0000 


aaaa 












0000 


bbbb 


Step27 


Dat 




00 


3R 


0000 


aaaa 












0000 


bbbb 


Step28 


Dat 




00 


3A 


0000 


aaaa 












0000 


bbbb 


Step29 


Dat 




00 


3C 


0000 


aaaa 












0000 


bbbb 


Step30 


Dat 




00 


3E 


0000 


aaaa 












0000 


bbbb 


Step31 


Dat 




00 


40 


0000 


aaaa 












0000 


bbbb 


Step32 


Dat 


00 


00 00 


42 


Total Size 







OChord Pattern 



- 128) 

- 128) 

- 128) 

- 128) 

- 128) 

- 128) 

- 128) 

- 128) 

- 128) 

- 128) 

- 128) 

- 128) 

- 128) 

- 128) 

- 128) 



Offset 








Address 




Description 




00 00 


0000 000a 


Chord Not el 


(0 - 1) 
OFF, ON 


00 01 


0000 000a 


Chord Note2 


(0 - 1) 
OFF, ON 


00 02 


0000 000a 


Chord Note3 


(0 - 1) 
OFF, ON 


00 03 


0000 000a 


Chord Note4 


(0 - 1) 
OFF, ON 


00 04 


0000 000a 


Chord Note5 


(0 - 1) 
OFF, ON 


00 05 


0000 000a 


Chord Note6 


(0 - 1) 
OFF, ON 


00 06 


0000 000a 


Chord Note7 


(0 - 1) 
OFF, ON 


00 07 


0000 000a 


Chord Note8 


(0 - 1) 
OFF, ON 


00 08 


0000 000a 


Chord Note9 


(0 - 1) 
OFF, ON 


00 09 


0000 000a 


Chord NotelO 


(0 - 1) 
OFF, ON 


00 OA 


0000 000a 


Chord Notell 


(0 - 1) 
OFF, ON 


00 Ob 


0000 000a 


Chord Notel2 


(0 - 1) 
OFF, ON 


00 OC 


0000 000a 


Chord Notel3 


(0 - 1) 
OFF, ON 


00 OD 


0000 000a 


Chord Notel4 


(0 - 1) 
OFF, ON 


00 OE 


0000 000a 


Chord Notel5 


(0 - 1) 
OFF, ON 


00 OF 


0000 000a 


Chord Noteie 


(0 - 1) 
OFF, ON 


00 10 


0000 000a 


Chord NotelV 


(0 - 1) 
OFF, ON 


00 11 


0000 000a 


Chord NotelS 


(0 - 1) 
OFF, ON 


00 12 


0000 000a 


Chord Notel9 


(0 - 1) 
OFF, ON 


00 13 


0000 000a 


Chord Note20 


(0 - 1) 
OFF, ON 


00 14 


0000 000a 


Chord Note21 


(0 - 1) 
OFF, ON 


00 15 


0000 000a 


Chord Note22 


(0 - 1) 
OFF, ON 


00 16 


0000 000a 


Chord Note23 


(0 - 1) 
OFF, ON 


00 17 


0000 000a 


Chord Note24 


(0 - 1) 
OFF, ON 


00 18 


0000 000a 


Chord Note25 


(0 - 1) 
OFF, ON 


00 19 


0000 000a 


Chord Note26 


(0 - 1) 
OFF, ON 


00 lA 


0000 000a 


Chord Note27 


(0 - 1) 
OFF, ON 


00 IB 


0000 000a 


Chord Note28 


(0 - 1) 
OFF, ON 


00 IC 


0000 000a 


Chord Note29 


(0 - 1) 
OFF, ON 


00 ID 


0000 000a 


Chord Note30 


(0 - 1) 
OFF, ON 


00 IE 


0000 000a 


Chord Note31 


(0 - 1) 
OFF, ON 


00 IF 


0000 000a 


Chord Note32 


(0 - 1) 
OFF, ON 


00 20 


0000 000a 


Chord Note33 


(0 - 1) 
OFF, ON 


00 21 


0000 000a 


Chord Note34 


(0 - 1) 
OFF, ON 


00 22 


0000 000a 


Chord Note35 


(0 - 1) 
OFF, ON 


00 23 


0000 000a 


Chord Note36 


(0 - 1) 
OFF, ON 


00 24 


0000 000a 


Chord Note37 


(0 - 1) 
OFF, ON 


00 25 


0000 000a 


Chord Note38 


(0 - 1) 
OFF, ON 


00 26 


0000 000a 


Chord Note39 


(0 - 1) 
OFF, ON 


00 27 


0000 000a 


Chord Note40 


(0 - 1) 
OFF, ON 


00 28 


0000 000a 


Chord Note41 


(0 - 1) 
OFF, ON 


00 29 


0000 000a 


Chord Note42 


(0 - 1) 
OFF, ON 


00 2a 


0000 000a 


Chord Note43 


(0 - 1) 
OFF, ON 


00 2B 


0000 000a 


Chord Note44 


(0 - 1) 
OFF, ON 


00 2C 


0000 000a 


Chord Note45 


(0 - 1) 
OFF, ON 


00 2D 


0000 000a 


Chord Note46 


(0 - 1) 
OFF, ON 


00 2e 


0000 000a 


Chord Note47 


(0 - 1) 
OFF, ON 


00 2f 


0000 000a 


Chord Note48 


(0 - 1) 
OFF, ON 


00 30 


0000 000a 


Chord Note49 


(0 - 1) 



DO 32 
DO 33 



DO 43 

DO 44 

DO 45 

DO 46 

DO 47 



DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 



DODO 
DODO 
DODO 
DODO 



DODO 
DODO 
DODO 



DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 



DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 
DODO 



Chord 


Note50 


Chord 


Note51 


Chord 


Note52 


Chord 


Note53 


Chord 


Note54 


Chord 


Note55 


Chord 


Note56 


Chord 


Note57 


Chord 


Note58 


Chord 


Note59 


Chord 


Note50 


Chord 


Note51 


Chord 


Note52 


Chord 


Note53 


Chord 


Note54 


Chord 


Note55 


Chord 


Note56 


Chord 


Note57 


Chord 


Note58 


Chord 


Note59 


Chord 


Note70 


Chord 


Note71 


Chord 


Note72 


Chord 


Note73 


Chord 


Note74 


Chord 


Note75 


Chord 


Note76 


Chord 


Note77 


Chord 


Note78 


Chord 


Note79 


Chord 


NoteSO 


Chord 


NoteSl 


Chord 


Note82 


Chord 


Note83 


Chord 


Note84 


Chord 


Note85 


Chord 


NoteSe 


Chord 


Note87 


Chord 


NoteSS 


Chord 


Note89 


Chord 


NoteSO 


Chord 


NoteSl 


Chord 


NoteS2 


Chord 


NoteS3 


Chord 


NoteS4 


Chord 


NoteS5 


Chord 


NoteSe 


Chord 


NoteS7 


Chord 


NoteSS 


Chord 


NoteSS 


Chord 


NotelOO 


Chord 


NotelOl 


Chord 


Notel02 


Chord 


Notel03 


Chord 


Notel04 


Chord 


Notel05 


Chord 


NotelOe 


Chord 


Notel07 


Chord 


NotelOe 


Chord 


NotelOS 


Chord 


NotellD 


Chord 


Notelll 


Chord 


Notell2 


Chord 


Notell3 


Chord 


Notell4 


Chord 


Notell5 


Chord 


Notelie 


Chord 


Notell7 


Chord 


NotellS 



OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF, 


ON 


(0 


~ 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(D 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(D 


~ 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(D 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(D 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(D 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(D 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(D 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(D 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(D 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


10 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(D 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(D 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(D 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(D 


~ 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(D 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(D 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(D 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


10 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


to 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(0 


- 1) 


OFF, 


ON 


(D 


- 1) 


OFF. 


ON 


(0 


- 1) 


OFF. 


ON 


(0 


- 1) 




228 




JUNO-G_e.book 229 '^-v 2006^2^130 ^BIH ^lS2a$445J- 



MIDI Implementation 



00 76 

00 77 

00 78 

00 79 

00 7A 

00 7B 

00 IC 

00 7D 

00 7E 

00 7F 



0000 000a 

0000 000a 

0000 000a 

0000 000a 

0000 000a 

0000 000a 

0000 000a 

0000 000a 

0000 000a 

0000 000a 



Chord Not 
Chord Not 
Chord Not 
Chord Not 
Chord Not 
Chord Not 
Chord Not 
Chord Not 
Chord Not 
Chord Not 



;119 
;120 
;121 
;122 
■123 
;124 
■125 
;126 
;127 



01 00 

01 01 

01 02 

01 03 

01 04 

01 05 

01 05 

01 07 

01 08 

01 09 

01 OA 

01 OB 

01 OC 

01 OD 

01 OE 

01 OF 



Chord Pati 

Chord Pati 

Chord Patt 

Chord Patt 

Chord Patt 

Chord Patt 

Chord Patt 

Chord Patt 

Chord Patt 

Chord Patt 

Chord Patt 

Chord Patt 

Chord Patt 

Chord Patt 

Chord Patt 

Chord Patt 



Name 1 
Name 2 
Name 3 
Name 4 
Name 5 
Name 6 
Name 7 
Name 8 
Name 9 
Name 10 
Name 1 1 
Name 12 
Name 1 3 
Name 14 
Name 1 5 
Name 1 6 



00 00 01 10 



ORhythm Group 



OFF, ON 

(0 - 1) 
OFF, ON 

(0 - 1) 
OFF, ON 

(0 - 1) 
OFF, ON 

(0 - 1) 
OFF, ON 

(0 - 1) 
OFF, ON 

(0 - 1) 
OFF, ON 

(0 - II 
OFF, ON 

(0 - 1) 
OFF, ON 

(0 - 1) 
OFF, ON 

(0 - 1) 
OFF, ON 

(32 - 127) 

(32 - 127) 

(32 - 127) 

(32 - 127) 

(32 - 127) 

(32 - 127) 

(32 - 127) 

(32 - 127) 

(32 - 127) 

(32 - 127) 

(32 - 127) 

(32 - 127) 

(32 - 127) 

(32 - 127) 

(32 - 127) 

(32 - 127) 



Off 


set 














Address 






Description 






00 


00 


Oaaa 


aaaa 


Rhythm Group Name 1 


(32 - 127) 




00 


01 


Oaaa 


aaaa 


Rhythm Group Name 2 


(32 - 127) 




00 


02 


Oaaa 


aaaa 


Rhythm Group Name 3 


(32 - 127) 




00 


03 


Oaaa 


aaaa 


Rhythm Group Name 4 


(32 - 127) 




00 


04 


Oaaa 


aaaa 


Rhythm Group Name 5 


(32 - 127) 




00 


05 


Oaaa 


aaaa 


Rhythm Group Name 5 


(32 - 127) 




00 


05 


Oaaa 


aaaa 


Rhythm Group Name 7 


(32 - 127) 




00 


07 


Oaaa 


aaaa 


Rhythm Group Name 8 


(32 - 127) 




00 


08 


Oaaa 


aaaa 


Rhythm Group Name 9 


(32 - 127) 




00 


09 


Oaaa 


aaaa 


Rhythm Group Name 10 


(32 - 127) 




00 


OA 


Oaaa 


aaaa 


Rhythm Group Name 11 


(32 - 127) 




00 


OB 


Oaaa 


aaaa 


Rhythm Group Name 12 


(32 - 127) 




00 


OC 


Oaaa 


aaaa 


Rhythm Group Name 13 


(32 - 127) 




00 


OD 


Oaaa 


aaaa 


Rhythm Group Name 14 


(32 - 127) 




00 


OE 


Oaaa 


aaaa 


Rhythm Group Name 15 


(32 - 127) 




00 


Of 


Oaaa 


aaaa 


Rhythm Group Name 16 


(32 - 127) 




00 


10 


Oaaa 


aaaa 


Recommended Rhythm Bank Select MSB 


(0 - 127) 




00 


11 


Oaaa 


aaaa 


Recommended Rhythm Bank Select LSB 


(0 - 127) 




00 


12 


Oaaa 


aaaa 


Recommended Rhythm Program Number 


(0 - 127) 




00 


13 


0000 


0000 


(reserve) <*> 






00 


14 


0000 


0000 


(reserve) <*> 






00 


15 


Oaaa 


aaaa 


Pad 1 Velocity 


(1 - 127) 




00 


15 


0000 


000a 


Pad 1 Rhythm Pattern Group 


(0 - 1) 

USER, PRESET 


# 


00 


17 


0000 


aaaa 












0000 


bbbb 


Pad 1 Rhythm Pattern Number 


(0 - 255) 




00 


19 


0000 


0000 


(reserve) <*> 






00 


lA 


0000 


0000 


(reserve) <*> 






00 


IB 


Oaaa 


aaaa 


Pad 2 Velocity 


(1 - 127) 




00 


IC 


0000 


000a 


Pad 2 Rhythm Pattern Group 


(0 - 1) 
USER, PRESET 


# 


00 


in 


0000 


aaaa 












0000 


bbbb 


Pad 2 Rhythm Pattern Number 


(0 - 255) 




00 


If 


0000 


0000 


(reserve) <*> 






00 


20 


0000 


0000 


(reserve) <•> 






00 


?A 


Oaaa 


aaaa 


Pad 3 Velocity 


(1 - 127) 




00 


22 


0000 


000a 


Pad 3 Rhythm Pattern Group 


(0 - 1) 
USER, PRESET 


# 


00 


23 


0000 


aaaa 












0000 


bbbb 


Pad 3 Rhythm Pattern Number 


(0 - 255) 




00 


y.^ 


0000 


0000 


(reserve) <*> 






00 


25 


0000 


0000 


(reserve) <*> 






00 


?.l 


Oaaa 


aaaa 


Pad 4 Velocity 


(1 - 127) 




00 


28 


0000 


000a 


Pad 4 Rhythm Pattern Group 


(0 - 1) 
USER, PRESET 


# 


00 


?9 


0000 


aaaa 












0000 


bbbb 


Pad 4 Rhythm Pattern Number 


(0 - 255) 




00 


y.p. 


0000 


0000 


(reserve) <*> 






00 


IC 


0000 


0000 


(reserve) <*> 






00 


2n 


Oaaa 


aaaa 


Pad 5 Velocity 


(1 - 127) 




00 


2e 


0000 


000a 


Pad 5 Rhythm Pattern Group 


(0 - 1) 

USER, PRESET 



DO 37 
00 71 



000 bbbb 
000 0000 
000 0000 



0000 bbbb 



0000 0000 



Pad 5 Rhythm Patten 



6 Velocity 
5 Rhythm Pat 



Pad S Rhythm Patte 



(1 - 127) 
(0 ~ 1) 

USER. PRESET 



OPatch Common 



Offset 








Address 






Description 


00 00 


Oaaa 


aaaa 


Patch Name 1 (32 - 127) 
32 - 127 [ASCII] 


DO 01 


Oaaa 


aaaa 


Patch Name 2 (32 - 127) 
32 - 127 [ASCII] 


DO 02 


Oaaa 


aaaa 


Patch Name 3 (32 - 127) 
32 - 127 [ASCII] 


DO 03 


Oaaa 


aaaa 


Patch Name 4 (32 - 127) 
32 - 127 [ASCII] 


DO 04 


Oaaa 


aaaa 


Patch Name 5 (32 - 127) 
32 - 127 [ASCII] 


DO 05 


Oaaa 


aaaa 


Patch Name 6 (32 - 127) 
32 - 127 [ASCII] 


DO 05 


Oaaa 


aaaa 


Patch Name 7 (32 - 127) 
32 - 127 [ASCII] 


DO 07 


Oaaa 


aaaa 


Patch Name 8 (32 - 127) 
32 - 127 [ASCII] 


DO 08 


Oaaa 


aaaa 


Patch Name 9 (32 - 127) 
32 - 127 [ASCII] 


DO 09 


Oaaa 


aaaa 


Patch Name 10 (32 - 127) 
32 - 127 [ASCII] 


DO OA 


Oaaa 


aaaa 


Patch Name 11 (32 - 127) 
32 - 127 [ASCII] 


DO OB 


Oaaa 


aaaa 


Patch Name 12 (32 - 127) 
32 - 127 [ASCII] 


00 OC 


Oaaa 


aaaa Patch Category (0 - 127) 


00 OD 


0000 


0000 1 (reserve) <*> 


00 OE 


Oaaa 


aaaa 


Patch Level (0 - 127) 


00 Of 


Oaaa 


aaaa 


Patch Pan (0 - 127) 

L64 - 63R 


DO ID 


DODO 


ODOa 


Patch Priority (D - 1) 

LAST, LOUDEST 


DO 11 


Oaaa 


aaaa 


Patch Coarse Tune (16 - 112) 

-48 - +48 


DO 12 


Oaaa 


aaaa 


Patch Fine Tune (14 - 114) 

-50 - +50 


DO 13 


DODO 


Oaaa 


Octave Shift (61 - 67) 

-3 - +3 

Stretch Tune Depth (D - 3) 


DO 14 


DODO 


OOaa 








OFF, 1-3 


DO 15 


Oaaa 


aaaa 


Analog Feel (D - 127) 


DO 16 


DODO 


ODOa 


Mono/Poly (D - 1) 

MONO . POLY 


DO 17 


DODO 


ODOa 


Legato Switch (D - 1) 

OFF. ON 


DO 18 


DODO 


ODOa 


Legato Retrigger (D - 1) 

OFF. ON 


DO 19 


DODO 


ODOa 


Portamento Switch (D - 1) 

OFF. ON 


DO lA 


DODO 


ODOa 


Portamento Mode (D - 1) 

NORMAL . LEGATO 


DO IB 


DODO 


ODOa 


Portamento Type (D - 1) 

RATE. TIME 


DO IC 


DODO 


ODOa 


Portamento Start (D - 1) 

PITCH. NOTE 


DO ID 


Oaaa 


aaaa 


Portamento Time (D - 127) 


DO IE 


DODO 


ODOD 


(reserve) <*> 


# DO IF 


DODO 


ODOD 






DODO 


ODOD 


(reserve) <*> 


00 21 


DODO 


ODOD 


(reserve) <*> 


DO 22 


Oaaa 


aaaa 


Cutoff Offset (1 - 127) 

-63 - +63 


DO 23 


Oaaa 


aaaa 


Resonance Offset (1 - 127) 

-63 - +63 


DO 24 


Oaaa 


aaaa 


Attack Time Offset (1 - 127) 

-63 - +63 


DO 25 


Oaaa 


aaaa 


Release Time Offset (1 - 127) 

-63 - +63 


00 26 


Oaaa 


aaaa 


Velocity Sens Offset (1 - 127) 

-63 - +63 










DO 27 


DODO 


aaaa 


Patch Output Assign (0 - 13) 

MFX. A, B. , . 

1, 2. 3, 4. , . , . 

TONE 










00 28 


DODO 


ODOa 


TMT Control Switch (0 - 1) 

OFF. ON 


00 29 


OOaa 


aaaa 


Pitch Bend Range Up (0 - 48) 


00 2A 


OOaa 


aaaa 


Pitch Bend Range Down (0 - 48) 


00 2B 


Oaaa 


aaaa 


Matrix Control 1 Source (0 - 109) 

OFF. CCOl - CC31, CC33 - CC95. 

BEND. AFT, SYSl - SYS4 . VELOCITY. 

KEYFOLLOW, TEMPO. LFOl . LF02 . 

PIT-ENV. TVF-ENV, TVA-ENV 


DO 2C 


DOaa 




Matrix Control 1 Destination 1 (0 - 34) 

OFF, PCH. CUT, RES. LEV, PAN. 

DRY. CHO, REV. PIT-LFOl. 

PIT-LF02. TVF-LFOl. TVF-LF02 . 

TVA-LFOl. TVA-LF02. PAN-LFOl . 

PAN-LF02. LFOl-RATE, LF02-RATE. 

PIT-ATK. PIT-DCY, PIT-REL. 

TVF-ATK. TVF-DCY, TVF-REL. 

TVA-ATK. TVA-DCY, TVA-REL. 

TMT, FXM. MFXl. MFX2 . MFX3 . MFX4 . 

TIME 


DO 2D 


Oaaa 


aaaa 


Matrix Control 1 Sens 1 (1 - 127) 

-63 - +63 


DO 2E 


DOaa 




Matrix Control 1 Destination 2 (0 - 34) 

OFF, PCH. CUT, RES. LEV, PAN, 

DRY. CHO, REV. PIT-LFOl, 

PIT-LF02. TVF-LFOl. TVF-LF02 . 

TVA-LFOl. TVA-LF02. PAN-LFOl. 

PAN-LF02. LFOl-RATE, LF02-RATE. 

PIT-ATK. PIT-DCY, PIT-REL. 

TVF-ATK. TVF-DCY, TVF-REL. 

TVA-ATK. TVA-DCY, TVA-REL. 

TMT, FXM. MFXl. MFX2 . MFX3 . MFX4 . 

TIME 


DO 2F 


Oaaa 


aaaa 


Matrix Control 1 Sens 2 (1 - 127) 




229 




_e.book ZSO'^-y 2006^2^130 ^BIH ^1»2a$445j- 



MIDI Implementation 



00 31 
00 32 



00 33 0. 



-63 - 
(0 



+ 63 



OFF, PCH, CUT, RES, LEV, PAN 

DRY, CHO, REV, PIT-LFOl 

PIT-LF02 , TVF-LFOl , TVF-I,F02 

TVA-LPOl, TVA-LF02, PAM-LFOl 

PAN-LF02, LFOl-RATE, LF02-RATE 

PIT-ATK, PIT-DCY, PIT-REL 

TVF-ATK, TVF-DCY, TVF-REL 

TVA-ATK, TVA-DCY, TVA-REL 

MT, FXM, MFXl, MFX2 , MFX3 , MFX4 

TIME 



3 



-63 



127 
+ 63 



(0 



34 



LEV, PAN 
PlT-LFOl 
TVF-LF02 
PAN-LFOl 



OFF, PCH, CUT, RES, 

DRY, CHO, REV, 

PIT-LF02 , TVF-LFOl , 

TVA-LFOl , TVA-LF02 , 

PAW-LF02 , LFOl-RATE, LF02-RATE 

PIT-ATK, PIT-DCY, PIT-REL 

TVF-DCY, TVF-REL 

TVA-DCY, TVA-REL 

MFX2 , MFX3 , MFX4 

TIME 

(1 - 127 



TVF-ATK, 

TVA-ATK, 

FXM, MFXl, 



-63 



+ 63 



00 36 

00 37 



00 38 
00 39 



00 3A 
00 3B 



00 3C 0. 



Source (0 - 109 

OFF, CCOl - CC31, CC33 - CC95 

BEND, AFT, SYSl - SYS4 , VELOCITY 

KEYFOLLOW, TEMPO, LFOl , LF02 

PIT-ENV, TVF-ENV, TVA-ENV 



(0 



34 



OFF, PCH, CUT, RES, LEV, PAN 

DRY, CHO, REV, PIT-LFOl 

PIT-LF02, TVF-LFOl, TVF-LF02 

TVA-LPOl, TVA-LF02, PAN-LFOl 

PAN-LF02, LFOl-RATE, LP02-RATE 

PIT-ATK, PIT-DCY, PIT-REL 

TVF-ATK, TVF-DCY, TVF-REL 

TVA-ATK, TVA-DCY, TVA-REL 

MT, FXM, MFXl , MFX2 , MFX3 , MFX4 

TIME 



1 



(1 
-63 



10 



OFF, PCH, CUT, RES, LEV, PAN 

DRY, CHO, REV, PIT-LFOl 

PIT-LF02 , TVF-LFOl , TVF-LP02 

TVA-LFOl , TVA-LF02 , PAN-LPOl 

PAN-LF02 , LFOl-RATE, LP02-RATE 

PIT-ATK, PIT-DCY, PIT-REL 

TVF-ATK, TVF-DCY, TVF-REL 

TVA-ATK, TVA-DCY, TVA-REL 

MT, FXM, MFXl , MFX2 , MFX3 , MFX4 

TIME 

ens 2 (1 - 127 

-63 - +63 
estination 3 (0-34 

OFF, PCH, CUT, RES, LEV, PAN 

DRY, CHO, REV, PIT-LFOl 

PIT-LF02 , TVF-LFOl , TVF-LF02 

TVA-LFOl , TVA-LF02 , PAN-LFOl 

PAN-LF02 , LFOl-RATE, LP02-RATE 

PIT-ATK, PIT-DCY, PIT-REL 

TVF-ATK, TVF-DCY, TVF-REL 

TVA-ATK, TVA-DCY, TVA-REL 

MT, FXM, MFXl, MFX2 , MFX3 , MPX4 

TIME 



3 



(1 
-63 



127 

+ 63 



OFF, PCH, CUT, RES, 

DRY, CHO, REV, 

PIT-LF02 , TVF-LFOl , 

TVA-LFOl , TVA-LF02 , 



(0 - 34 

LEV, PAN 

PIT-LFOl 

TVF-LF02 

PAN-LFOl 

PAN-LF02 , LFOl-RATE, LF02-RATE 

PIT-ATK, PIT-DCY, PIT-REL 

TVF-ATK, TVF-DCY, TVF-REL 

TVA-ATK, TVA-DCY, TVA-REL 

TMT, FXM, MFXl , MFX2 , MFX3 , MFX4 

TIME 

Sens 4 (1 - 127 



-63 



+ 63 



00 3F 

00 40 



00 41 
00 42 



00 43 

00 44 



Source (0 - 109 

OFF, CCOl - CC31, CC33 - CC95 

BEND, AFT, SYSl - SYS4 , VELOCITY 

KEYFOLLOW, TEMPO, LFOl, LF02 

PIT- ENV , TVF - ENV , TVA- ENV 



(0 - 34 

PCH, CUT, RES, LEV, PAN 

DRY, CHO, REV, PIT-LFOl 

PIT-LF02 , TVF-LFOl , TVF-LF02 

TVA-LFOl, TVA-LF02, PAN-LFOl 

PAN-LF02, LFOl-RATE, LF02-RATE 

PIT-ATK, PIT-DCY, PIT-REL 

TVF-DCY, TVF-REL 

TVA-DCY, TVA-REL 

MPX2 , MFX3 , MFX4 

TIME 



OFF, 



TVF-ATK, 

TVA-ATK, 

FXM, MFXl, 



1 



-63 



127 
+ 63 



(0 - 34 

LEV , PAN 
PIT-LFOl 
TVF-LF02 

TVA-LFOl, TVA-LF02, PAN-LFOl 

PAN-LF02 , LFOl-RATE, LF02-RATE 

PIT-ATK, PIT-DCY, PIT-REL 

TVF-DCY, TVF-REL 

TVA-DCY, TVA-REL 

MFX2 , MFX3 , MFX4 

TIME 



OFF, PCH, CUT, RES, 



TVF-ATK, 

TVA-ATK, 

FXM, MFXl, 



3 



(1 - 

-63 - 

(0 



OFF, 



LEV, PAN 
PIT-LFOl 
TVF-LF02 
PAN-LFOl 



PCH, CUT, RES, 

DRY, CHO, REV, 

PIT-LF02 , TVF-LFOl , 

TVA-LFOl , TVA-LF02 , 

PAN-LF02, LFOl-RATE, LF02-RATE 

PIT-ATK, PIT-DCY, PIT-REL 

TVF-DCY, TVF-REL 

TVA-DCY, TVA-REL 

MFX2 , MFX3 , MFX4 

TIME 



TVF-ATK, 

TVA-ATK, 

FXM, MFXl, 



3 



(1 
-63 



OFF, PCH, CUT, RES, 



(0 - 34 

LEV, PAN 

PIT-LFOl 

TVF-LF02 

TVA-LFOl , TVA-LF02 , PAN-LFOl 

PAN-LF02, LFOl-RATE, LF02-RATE 

PIT-ATK, PIT-DCY, PIT-REL 

TVF-ATK , TVF-DCY , TVF-REL 



TVA-DCY, TVA-REL, 

MFX2 . MFX3 , MFX4 , 

TIME 

127) 



-63 



+ 63 



4a 
00 4b 



00 4e 0. 



Source (0 - 103) 

OFF. CCOl - CC31, CC33 - CC95, 

BEND, AFT, SYSl - SYS4 , VELOCITY, 

KEYFOLLOW, TEMPO, LFOl, LF02 , 

PIT-ENV, TVF-ENV, TVA-ENV 



1 



(0 



34) 





OFF, PCH, CUT, RES, LEV, PAN 




DRY, CHO, REV, PIT-LFOl 




PIT-LF02, TVF-LFOl, TVF-LF02 




TVA-LFOl, TVA-LF02, PAN-LFOl 




PAN-LF02, LFOl-RATE, LF02-RATE 




PIT-ATK, PIT-DCY, PIT-REL 




TVF-ATK, TVF-DCY, TVF-REL 




TVA-ATK. TVA-DCY, TVA-REL 




TMT, FXM. MFXl. MFX2 . MFX3 . MFX4 




TIME 


4 


Sens 1 (1 - 127 




-63 - +63 


4 


Destination 2 (0-34 





OFF, PCH, CUT, RES. LEV, PAN 




DRY, CHO, REV. PIT-LFOl 




PIT-LF02. TVF-LFOl. TVF-LF02 




TVA-LFOl. TVA-LF02. PAN-LFOl 




PAN-LF02. LFOl-RATE, LF02-RATE 




PIT-ATK, PIT-DCY, PIT-REL 




TVF-ATK, TVF-DCY, TVF-REL 




TVA-ATK, TVA-DCY, TVA-REL 




TMT, FXM, MFXl. MFX2 . MFX3 . MFX4 




TIME 


4 


Sens 2 (1 - 127 




-63 - +63 


4 


Destination 3 (0-34 



) 

OFF , PCH . CUT , RES . LEV , PAN , 

DRY. CHO, REV, PIT-LFOl, 

PIT-LF02 , TVF-LFOl , TVF-LF02 , 

TVA-LFOl , TVA-LF02 , PAN-LFOl . 

PAN-LF02 . LFOl-RATE, LF02-RATE, 

PIT-ATK, PIT-DCY, PIT-REL, 

TVF-DCY, TVF-REL, 

TVA-DCY, TVA-REL, 

MFX2 , MFX3 . MFX4 . 

TIME 

(1 - 127) 

-63 - +63 





TVF-ATK 




TVA-ATK 




TMT, FXM, MFXl 


4 


Sens 3 


4 


Destination 4 



(0 



34) 



OFF, 



PCH , CUT , RES . LEV , PAN , 

DRY, CHO, REV. PIT-LFOl. 

PIT-LF02 . TVF-LFOl . TVF-LF02 . 

TVA-LFOl. TVA-LF02 . PAM-LFOl. 

PAN-LF02 . LFOl-RATE, LF02-RATE, 

PIT-ATK, PIT-DCY, PIT-REL, 

TVF-ATK , TVF-DCY, TVF-REL , 

TVA-ATK. TVA-DCY, TVA-REL, 

MT , FXM . MFXl . MFX2 . MFX3 . MFX4 . 

TIME 

ens 4 (1 - 127) 



-63 



+ 63 



00 00 00 4f I Total Si' 



OPatch Common MFX 



Off 


Address 






Desc 


ription 






00 00 


Oaaa 


aaaa 


MFX Type 




(0 - 127) 




00 01 


Oaaa 


aaaa 


MFX Dry Send Level 


(0 - 127) 




00 02 


Oaaa 


aaaa 


MFX Choru 


s Send Level 


(0 - 127) 




00 03 


Oaaa 


aaaa 


MFX Reverb Send Level 


(0 - 127) 




00 04 


0000 


OOaa 


MFX Outpu 


t Assign 


(0 - 3) 

A, B. , 


















00 05 


Oaaa 


aaaa 


MFX Contr 


ol 1 Source 

OFF. 


(0 - 101) 

CCOl - CC31, CC33 - CC95, 

BEND. AFT, SYSl - SYS4 




00 06 


Oaaa 


aaaa 


MFX Contr 


ol 1 Sens 


(1 - 127) 
-63 - +63 




00 07 


Oaaa 


aaaa 


MFX Contr 


ol 2 Source 

OFF. 


(0 - 101) 

CCOl - CC31, CC33 - CC95, 

BEND. AFT, SYSl - SYS4 




00 08 


Oaaa 


aaaa 


MFX Contr 


ol 2 Sens 


(1 - 127) 
-63 - +63 




00 09 


Oaaa 


aaaa 


MFX Contr 


ol 3 Source 

OFF. 


(0 - 101) 

CCOl - CC31, CC33 - CC95, 

BEND. AFT, SYSl - SYS4 




OA 


Oaaa 


aaaa 


MFX Contr 


ol 3 Sens 


(1 - 127) 
-63 - +63 




00 OB 


Oaaa 


aaaa 


MFX Contr 


ol 4 Source 

OFF. 


(0 - 101) 

CCOl - CC31, CC33 - CC95, 

BEND, AFT, SYSl - SYS4 




00 OC 


Oaaa 


aaaa 


MFX Contr 


ol 4 Sens 


(1 - 127) 
-63 - +63 


















00 OD 


OODa 


aaaa 


MFX Contr 


ol Assign 1 


(0 - 15) 
OFF, 1-15 




DO OE 


DODa 


aaaa 


MFX Contr 


ol Assign 2 


(0 - 15) 
OFF, 1-15 




DO OF 


OODa 


aaaa 


MFX Contr 


ol Assign 3 


(0 - 15) 
OFF, 1-15 




DO ID 


DODa 


aaaa 


MFX Contr 


ol Assign 4 


(0 - 15) 
OFF, 1-15 


# 


DO 11 


DODO 
DODO 
DODO 


bbbb 












DODO 


dddd 


MFX Pararo 


eter 1 


(12768 - 52768) 
-2D0D0 - +20000 


# 


00 15 


DODO 
DODO 
DODO 


bbbb 












DODO 


dddd 


MFX Pararii 


eter 2 


(12768 - 52768) 
-20000 - +20000 


# 


00 19 


0000 
0000 
0000 


bbbb 
cccc 












0000 


dddd 


MFX Parani 


eter 3 


(12768 - 52768) 
-20000 - +20D0D 


# 


00 ID 


DODO 
DODO 
DODO 


bbbb 












DODO 


dddd 


MFX Pararii 


eter 4 


(12768 - 52768) 
-20000 - +20000 


# 


00 21 


DODO 
0000 
0000 


bbbb 












0000 


dddd 


MFX Param 


eter 5 


(12768 - 52768) 
-20000 - +20000 


# 


00 25 


DODO 
DODO 
DODO 


bbbb 










230 




JUNO-G_e.book 231 '^-y 2 00 6^2^130 ^BIH ^lS2a$4 45J- 



MIDI Implementation 



(^ 



0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

00 00 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



MFX Parameti 



00 00 01 11 I Total Si 



OPatch Common Chorus 



Off 


set 
Addr 


=ss 






Description 






00 


no 


0000 aaaa 


Chor 


us Type 


(0 - 3) 




00 


01 


Oaaa aaaa 


Chor 


us Level 


(0 - 127) 




00 


02 


DODO OOaa 


Chor 


us Output Assign 


(0 - 3) 

A, B. , 




DO 


03 


DODO OOaa 


Chor 


us Output Select 


(0 - 2) 
MAIN, REV, MAIN+REV 












# 


00 


04 


0000 aaaa 
0000 bbbb 
0000 cccc 














DODO dddd 


Chor 


us Parameter 1 


(12768 - 52768) 
-20000 - +20000 


# 


00 


08 


0000 aaaa 
0000 bbbb 
0000 cccc 














0000 dddd 


Chor 


us Parameter 2 


(12768 - 52768) 
-20000 - +20000 


# 


00 


oc 


0000 aaaa 
0000 bbbb 
0000 cccc 














0000 dddd 


Chor 


us Parameter 3 


(12768 - 52768) 
-20000 - +20000 


# 


00 


ID 


0000 aaaa 
0000 bbbb 
DODO cccc 














DODO dddd 


Chor 


us Parameter 4 


(12768 - 52768) 
-20000 - +20000 


# 


00 


14 


DODO aaaa 
00 bbbb 
0000 cccc 














0000 dddd 


Chorus Parameter 5 


(12768 - 52768) 














-20000 - +20000 


# 


00 


18 


DODO aaaa 
DODO bbbb 
0000 cccc 














0000 dddd 


Chor 


us Parameter 6 


(12768 - 52768) 
-20000 - +20000 


# 


00 


IC 


0000 aaaa 
0000 bbbb 
0000 cccc 














0000 dddd 


Chor 


us Parameter 7 


(12768 - 52768) 
-20000 - +20000 


# 


00 


20 


0000 aaaa 
0000 bbbb 
0000 cccc 














0000 dddd 


Chor 


us Parameter 8 


(12768 - 52768) 
-20000 - +20000 


# 


00 


24 


DODO aaaa 
DODO bbbb 
0000 cccc 














DODO dddd 


Chor 


us Parameter 9 


(12768 - 52768) 
-20000 - +20000 


# 


00 


28 


00 aaaa 
0000 bbbb 
0000 cccc 














00 dddd 


Chor 


us Parameter 10 


(12768 - 52768) 
-20000 - +20000 


# 


00 


2C 


DODO aaaa 
DODO bbbb 
0000 cccc 














DODO dddd 


Chor 


us Parameter 11 


(12768 - 52768) 
-20000 - +20000 


# 


00 


3D 


DODO aaaa 
DODO bbbb 
0000 cccc 














0000 dddd 


Chor 


us Parameter 12 


(12768 - 52768) 
-20000 - +20000 


# 


00 


34 


0000 aaaa 
0000 bbbb 
0000 cccc 














00 dddd 


Chor 


us Parameter 13 


(12768 - 52768) 
-20000 - +20000 


# 


00 


38 


DODO aaaa 
DODO bbbb 
DODO cccc 














0000 dddd 


Chor 


us Parameter 14 


(12768 - 52768) 
-20000 - +20000 


# 


00 


3C 


DODO aaaa 
0000 bbbb 
0000 cccc 














0000 dddd 


Chor 


us Parameter 15 


(12768 - 52768) 
-20000 - +20000 


# 


00 


40 


0000 aaaa 
0000 bbbb 
DODO cccc 














0000 dddd 


Chor 


us Parameter 16 


(12768 - 52768) 
-20000 - +20000 


# 


00 


44 


DODO aaaa 
DODO bbbb 
DODO cccc 














DODO dddd 


Chor 


us Parameter 17 


(12768 - 52768) 
-20000 - +20000 


# 


00 


48 


0000 aaaa 
0000 bbbb 
0000 cccc 














0000 dddd 


Chor 


us Parameter 18 


(12768 - 52768) 
-20000 - +20000 


# 


00 


4C 


0000 aaaa 
DODO bbbb 
0000 cccc 














DODO dddd 


Chor 


us Parameter 19 


(12768 - 52768) 
-20000 - +20000 


# 


DO 


50 


0000 aaaa 
0000 bbbb 
0000 cccc 














0000 dddd 


Chor 


us Parameter 20 


(12768 - 52768) 














-20000 - +20000 


00 


00 00 


54 


Total Size 









OPatch Common Reverb 



Offset 








Address 




Description 




00 00 


0000 aaaa 


Reverb Type 


(0 - 5) 


00 01 


Oaaa aaaa 


Reverb Level 


(0 - 127) 


00 02 


0000 OOaa 


Reverb Output Assign 


(0 - 3) 

A, B, , 










# 00 03 


DODO aaaa 
0000 bbbb 
DODO cccc 








0000 dddd 


Reverb Parameter 1 


(12768 - 52768) 
-20000 - +20000 


# 00 07 


0000 aaaa 
0000 bbbb 
0000 cccc 








0000 dddd 


Reverb Parameter 2 


(12768 - 52768) 




231 




JUNO-G_e.book 232 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



MIDI Implementation 



0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

00 00 dddd 



Reverb Parameter 3 



Reverb Parameter 4 



Reverb Parameter 5 



Reverb Parameter 6 



Reverb Parameter 7 



Reverb Paramete: 



Reverb Parameter 9 



Reverb Parameter 10 



Reverb Parameter 11 



Reverb Parameter 12 



Reverb Parameter 13 



Reverb Parameter 14 



Reverb Parameter 15 



Reverb Parameter 16 



Reverb Parameter 17 



Reverb Parameter 18 



Reverb Parameter 19 



Reverb Parameter 20 



00 00 00 53 



OPatch TMT (Tone Mix Table) 



Offset 












Address 






Description 




00 


00 


0000 


aaaa 


Structure Type 1 & 2 


(0 - 9) 

1-10 


00 


01 


0000 


OOaa 


Booster 1 & 2 

0, + 


(0 - 3) 
6, +12, +18 [dB] 


00 


02 


0000 


aaaa 


Structure Type 3 & 4 


(0 - 9) 

1-10 


00 


03 


0000 


OOaa 


Booster 3 & 4 


(0 - 3) 










0, + 


6, +12, +18 [dB] 


00 


04 


0000 


OOaa 


TMT Velocity Control 


(0 - 3) 










OFF, ON, RANDOM, CYCLE 


00 


05 


0000 


000a 


TMTl Tone Switch 


(0 - 1) 

OFF, ON 


00 


Ob 


Oaaa 


aaaa 


TMTl Keyboard Range Lower 


(0 - 127) 

C-1 - UPPER 


00 


07 


Oaaa 


aaaa 


TMTl Keyboard Range Upper 


(0 - 127) 

LOWER - G9 


00 


OR 


Oaaa 


aaaa 


TMTl Keyboard Fade Width Lower 


(0 - 127) 


00 


09 


Oaaa 


aaaa 


TMTl Keyboard Fade Width Upper 


(0 - 127) 


00 


OA 


Oaaa 


aaaa 


TMTl Velocity Range Lower 


(1 - 127) 
1 - UPPER 


00 


Ob 


Oaaa 


aaaa 


TMTl Velocity Range Upper 


(1 - 127) 
LOWER - 127 


00 


oc 


Oaaa 


aaaa 


TMTl Velocity Fade Width Lower 


(0 - 127) 


00 


OD 


Oaaa 


aaaa 


TMTl Velocity Fade Width Upper 


(0 - 127) 


00 


Of 


0000 


000a 


TMT2 Tone Switch 


(0 - 1) 
OFF, ON 


00 


Of 


Oaaa 


aaaa 


TMT2 Keyboard Range Lower 


(0 - 127) 
C-1 - UPPER 


00 


10 


Oaaa 


aaaa 


TMT2 Keyboard Range Upper 


(0 - 127) 
LOWER - G9 


00 


11 


Oaaa 


aaaa 


TMT2 Keyboard Fade Width Lower 


(0 - 127) 


00 


12 


Oaaa 


aaaa 


TMT2 Keyboard Fade Width Upper 


(0 - 127) 


00 


13 


Oaaa 


aaaa 


TMT2 Velocity Range Lower 


(1 - 127) 



TMT2 Velocity Range Upper 



ity 
ity 



■ Width Lowe 

■ Width Uppe 



1 - UPPER 

(1 - 127) 

LOWER - 127 

(0 - 127) 

(0 - 127) 



TMT 3 

TMT 3 

TMT 3 

TMT 3 
TMT 3 
TMT 3 



Tone Swit 

Keyboard 

Keyboard 

Keyboard 
Keyboard 

Velocity 



(0 



1) 



Fade 
Fade 



Width Lowe' 
Width Uppe 



TMT3 Velo 



ity Range Upper 



ity 
ity 



■ Width Lowe 

■ Width Uppe 



OFF, ON 

(0 - 127) 

C-1 - UPPER 

(0 - 127) 

LOWER - G9 

(0 - 127) 

(0 - 127) 

(1 - 127) 

1 - UPPER 

(1 - 127) 

LOWER - 127 

(0 - 127) 

(0 - 127) 



DO 28 
00 00 00 29 



TMT4 

TMT4 

TMT4 

TMT4 
TMT4 
TMT4 



Tone Swit 

Keyboard 

Keyboard 

Keyboard 
Keyboard 

Velocity 



(0 



1) 



Fade 
Fade 



Width Lowe' 
Width Uppe' 



ity Range Upper 



■ Width Lowe 

■ Width Uppe 



OFF, ON 

(0 - 127) 

C-1 - UPPER 

(0 - 127) 

LOWER - G9 

(0 - 127) 

(0 - 127) 

(1 - 127) 

1 - UPPER 

(1 - 127) 

LOWER - 127 

(0 - 127) 

(0 - 127) 



OPatch Tone 



0000 
DODO 



Tone 


Level (0 - 127) 


Tone 


Coarse Tune (IS - 112) 




-48 - +48 


Tone 


Fine Tune (14 - 114) 




-50 - +50 


Tone 


Random Pitch Depth (0 - 30) 




0, 1. 2, 3. 4, 5. 6, 7. 8, 9, 




10. 20, 30. 40. 50. 60. 70. 80. 




90, 100. 200, 300. 400, 500, 




600, 700. 800, 900. 1000. 1100. 




1200 


Tone 


Pan (0 - 127) 




L64 - 53R 


Tone 


Pan Keyfollow (54 - 74) 




-100 - +100 


Tone 


Random Pan Depth (0 - 63) 


Tone 


Alternate Pan Depth (1 - 127) 




L63 - S3R 



Tone Env Mode 
Tone Delay Mod 



Tone Delay Tii 



NO-SUS, SUSTAIN 



00 oc 

DO OD 

DO OE 

DO OF 

DO 10 

00 11 



Tone Dry Send Level 
Tone Chorus Send Leve 
Tone Reverb Send Leve 
Tone Chorus Send Leve 
Tone Reverb Send Leve 
Tone Output Assign 

1, 







(D - 149) 


- 127 


MUSICAL-NOTES 






(D - 127) 


1 (MFX) 




(D - 127) 


1 (MFX) 




(0 - 127) 


1 (non MFX) 




(D - 127) 


1 (non MFX) 




(D - 127) 
(0 - 12) 


MFX. 


A, B. 


, . 



DODO 
DODO 
DODO 
DODO 
DODO 



Tone Reci 
Tone Reci 



Express 
Hold-1 



Tone Receive Pan Mode 
Tone Redamper Switch 



CONTINUOUS. KEY-ON 



DODO 
DODO 
DODO 
DODO 



DODO 
DODO 
DODO 



DODO 
DODO 
DODO 
DODO 



Tone Coi 

Tone Coi 

Tone Coi 

Tone Coi 

Tone Coi 

Tone Coi 

Tone Coi 

Tone Coi 

Tone Coi 

Tone Coi 

Tone Coi 

Tone Coi 

Tone Coi 

Tone Coi 

Tone Coi 

Tone Coi 



ol 1 Switch 1 

ol 1 Switch 2 

ol 1 Switch 3 

ol 1 Switch 4 

ol 2 Switch 1 

ol 2 Switch 2 

ol 2 Switch 3 

ol 2 Switch 4 

ol 3 Switch 1 

ol 3 Switch 2 

ol 3 Switch 3 

ol 3 Switch 4 

ol 4 Switch 1 

ol 4 Switch 2 

ol 4 Switch 3 

ol 4 Switch 4 



OFF, ON, 

OFF, ON, 

OFF, ON, 

OFF, ON, 

OFF, ON, 

OFF, ON, 

OFF, ON, 

OFF, ON, 

OFF, ON, 

OFF, ON, 

OFF, ON, 

OFF, ON, 

OFF, ON, 

OFF, ON, 

OFF, ON, 

OFF, ON, 



REVERSE 



(D 



2) 



REVERSE 

(D - 2) 

REVERSE 

(D - 2) 

REVERSE 

(D - 2) 

REVERSE 



(D 



2) 



REVERSE 



REVERSE 



(D 



2) 



REVERSE 

(D - 2) 

REVERSE 
(D - 2) 

REVERSE 
(D - 2) 

REVERSE 



(D 



2) 



REVERSE 



REVERSE 

(D - 2) 

REVERSE 



DODO 
DODO 
DODO 
DODO 

DODO 
DODO 
DODO 
DODO 



bbbb 
dddd 



Wave Group Type 



Wave Group ID 



Wave Number L (Mono) 



INT, SRX. SAMPLE 




232 




JUNO-G_e.book 233 '^-y 2006^2^130 ^BIH ^1»2a$445j- 



MIDI Implementation 



(^ 



# 


00 30 


0000 aaaa 
00 00 bbbb 
0000 cccc 








0000 dddd 


Wave Number R (0 - 16384) 
OFF, 1 - 16384 




00 34 


0000 OOaa 


Wave Gain (0-3) 
-6, 0, +6, +12 [dB] 




00 35 


0000 000a 


Wave FXM Switch (0-1) 

OFF, ON 




00 36 


0000 OOaa 


Wave FXM Color (0-3) 

1-4 




00 37 


000a aaaa 


Wave FXM Depth |0 - 16) 




00 38 


0000 000a 


Wave Tempo Sync ( - 1 ) 

OFF, ON 




00 39 


OOaa aaaa 


Wave Pitch Keyfollow (44 - 84) 

-200 - +200 




00 3A 


000a aaaa 


Pitch Env Depth (52 - 76) 

-12 - +12 




00 3B 


Oaaa aaaa 


Pitch Env Velocity Sens (1 - 127) 

-63 - +63 




00 3C 


Oaaa aaaa 


Pitch Env Time 1 Velocity Sens (1 - 127) 

-63 - +63 




00 3D 


Oaaa aaaa 


Pitch Env Time 4 Velocity Sens (1 - 127) 

-63 - +63 




00 3e 


000a aaaa 


Pitch Env Time Keyfollow (54 - 74) 

-100 - +100 




00 3F 


Oaaa aaaa 


Pitch Env Time 1 (0 - 127) 




00 40 


Oaaa aaaa 


Pitch Env Time 2 (0 - 127) 




00 41 


Oaaa aaaa 


Pitch Env Time 3 (0 - 127) 




00 42 


Oaaa aaaa 


Pitch Env Time 4 (0 - 127) 




00 43 


Oaaa aaaa 


Pitch Env Level (1 - 127) 

-63 - +63 




00 44 


Oaaa aaaa 


Pitch Env Level 1 (1 - 127) 

-63 - +63 




00 45 


Oaaa aaaa 


Pitch Env Level 2 (1 - 127) 

-63 - +63 




00 46 


Oaaa aaaa 


Pitch Env Level 3 (1 - 127) 

-63 - +63 




00 47 


Oaaa aaaa 


Pitch Env Level 4 (1 - 127) 

-63 - +63 












00 48 


0000 Oaaa 


TVF Filter Type (0 - 6) 

OFF, LPF, BPF, HPF, PKG , LPF2 , 
LPP3 




00 49 


Oaaa aaaa 


TVF Cutoff Frequency (0 - 127) 




00 4A 


OOaa aaaa 


TVF Cutoff Keyfollow (44 - 84) 

-200 - +200 




00 4B 


0000 Oaaa 


TVF Cutoff Velocity Curve (0-7) 

FIXED, 1-7 




00 4C 


Oaaa aaaa 


TVF Cutoff Velocity Sens (1 - 127) 

-63 - +63 




00 4d 


Oaaa aaaa 


TVF Resonance (0 - 127) 




00 4E 


Oaaa aaaa 


TVF Resonance Velocity Sens (1 - 127) 

-63 - +63 




00 4F 


Oaaa aaaa 


TVF Env Depth (1 - 127) 

-63 - +63 




00 50 


0000 Oaaa 


TVF Env Velocity Curve (0 - 7) 

FIXED, 1-7 




00 51 


Oaaa aaaa 


TVF Env Velocity Sens (1 - 127) 

-63 - +63 




00 52 


Oaaa aaaa 


TVF Env Time 1 Velocity Sens (1 - 127) 

-63 - +63 




00 53 


Oaaa aaaa 


TVF Env Time 4 Velocity Sens (1 - 127) 

-63 - +63 




00 54 


000a aaaa 


TVF Env Time Keyfollow (54 - 74) 

-100 - +100 




00 55 


Oaaa aaaa 


TVF Env Time 1 (0 - 127) 




00 56 


Oaaa aaaa 


TVF Env Time 2 (0 - 127) 




00 57 


Oaaa aaaa 


TVF Env Time 3 (0 - 127) 




00 58 


Oaaa aaaa 


TVF Env Time 4 (0 - 127) 




00 59 


Oaaa aaaa 


TVF Env Level (0 - 127) 




00 5A 


Oaaa aaaa 


TVF Env Level 1 (0 - 127) 




00 5B 


Oaaa aaaa 


TVF Env Level 2 (0 - 127) 




00 5C 


Oaaa aaaa 


TVF Env Level 3 (0 - 127) 




00 5D 


Oaaa aaaa 


TVF Env Level 4 (0 - 127) 




00 5E 


000a aaaa 


Bias Level (54 - 74) 

-100 - +100 




00 5F 


Oaaa aaaa 


Bias Position (0 - 127) 

C-1 - G9 




00 60 


0000 OOaa 


Bias Direction (0 - 3) 

LOWER, UPPER, LOWER&UPPER, ALL 




00 61 


0000 Oaaa 


TVA Level Velocity Curve (0 - 7) 

FIXED, 1-7 




00 62 


Oaaa aaaa 


TVA Level Velocity Sens (1 - 127) 

-63 - +63 




00 63 


Oaaa aaaa 


TVA Env Time 1 Velocity Sens (1 - 127) 

-63 - +63 




00 64 


Oaaa aaaa 


TVA Env Time 4 Velocity Sens (1 - 127) 

-63 - +63 




00 65 


000a aaaa 


TVA Env Time Keyfollow (54 - 74) 

-100 - +100 




00 66 


Oaaa aaaa 


TVA Env Time 1 (0 - 127) 




00 67 


Oaaa aaaa 


TVA Env Time 2 (0 - 127) 




00 68 


Oaaa aaaa 


TVA Env Time 3 (0 - 127) 




00 69 


Oaaa aaaa 


TVA Env Time 4 (0 - 127) 




00 6a 


Oaaa aaaa 


TVA Env Level 1 (0 - 127) 




00 6b 


Oaaa aaaa 


TVA Env Level 2 (0 - 127) 




00 6C 


Oaaa aaaa 


TVA Env Level 3 (0 - 127) 




00 6D 


0000 aaaa 


LFOl Waveform (0 - 12) 

SIN, TRI, SAW-UP, SAW-DW, SQR, 

RND, BEND-UP, BEND-DW, TRP, S&H , 

CHS, VSIN, STEP 


# 


00 6e 


0000 aaaa 








00 00 bbbb 


LFOl Rate (0 - 149) 
- 127, MUSICAL-NOTES 




00 70 


0000 Oaaa 


LFOl Offset (0 - 4) 
-100, -50, 0, +50, +100 




00 71 


Oaaa aaaa 


LFOl Rate Detune (0 - 127) 




00 72 


Oaaa aaaa 


LFOl Delay Time (0 - 127) 




00 73 


000a aaaa 


LFOl Delay Time Keyfollow (54 - 74) 

-100 - +100 




00 74 


0000 OOaa 


LFOl Fade Mode (0-3) 

ON-IN, ON-OUT, OFF-IN, OFF-OUT 




00 75 


Oaaa aaaa 


LFOl Fade Time (0 - 127) 




00 76 


0000 000a 


LFOl Key Trigger (0-1) 

OFF, ON 




00 77 


Oaaa aaaa 


LFOl Pitch Depth (1 - 127) 

-63 - +63 




00 78 


Oaaa aaaa 


LFOl TVF Depth (1 - 127) 

-63 - +63 




00 79 


Oaaa aaaa 


LFOl TVA Depth (1 - 127) 

-63 - +63 




00 7A 


Oaaa aaaa 


LFOl Pan Depth (1 - 127) 

-63 - +63 




00 7B 


0000 aaaa 


LF02 Waveform (0 - 12) 

SIN, TRI, SAW-UP, SAW-DW, SQR, 

RND, BEND-UP, BEND-DW, TRP, S&H, 

CHS, VSIN, STEP 


# 


00 7C 


0000 aaaa 








00 00 bbbb 


LF02 Rate (0 - 149) 
- 127, MUSICAL-NOTES 




00 7E 


0000 Oaaa 


LF02 Offset (0 - 4) 
-100, -50, 0, +50, +100 




00 7F 


Oaaa aaaa 


LF02 Rate Detune (0 - 127) 




01 00 


Oaaa aaaa 


LF02 Delay Time (0 - 127) 



LF02 Delay Time Keyfolloi 

LF02 Fade Mode 



ON-IN, ON-OUT, 



LF02 Fade Time 
LF02 Key Trigger 

LF02 Pitch Depth 

LF02 TVF Depth 
LF02 TVA Depth 

LF02 Pan Depth 





(54 


- 74) 




-100 - 


tlOO 




(0 


- 3) 


OFF 


IN, OFF 


-OUT 




(0 - 


127) 



01 09 

01 OA 

01 OB 

01 OC 

01 OD 



01 


10 


01 


11 


01 


12 


01 


13 


01 


14 


01 


15 


01 


16 


01 


17 


01 


18 


01 


19 


00 00 01 


lA 



LFO Step Type 
LFO Stepl 

LFO Step2 

LFO Step3 

LFO Step4 

LFO Step5 

LFO Step6 

LFO Step7 

LFO Steps 

LFO Step9 

LFO SteplO 

LFO Stepll 

LFO Stepl2 

LFO Stepl3 

LFO Stepl4 

LFO Stepl5 

LFO Stepl6 



ORhythm Common 



ORhythm Common MFX 



Off 


Address 






Description 








00 00 


Oaaa 


aaaa 


Rhythm Name 1 


32 - 


(32 - 127) 
127 [ASCII] 




00 01 


Oaaa 


aaaa 


Rhythm Name 2 


32 - 


(32 - 127) 
127 [ASCII] 




00 02 


Oaaa 


aaaa 


Rhythm Name 3 


32 - 


(32 - 127) 
127 [ASCII] 




00 03 


Oaaa 


aaaa 


Rhythm Name 4 


32 - 


(32 - 127) 
127 [ASCII] 




DO 04 


Oaaa 


aaaa 


Rhythm Name 5 


32 - 


(32 - 127) 
127 [ASCII] 




DO 05 


Oaaa 


aaaa 


Rhythm Name 5 


32 - 


(32 - 127) 
127 [ASCII] 




DO 06 


Oaaa 


aaaa 


Rhythm Name 7 


32 - 


(32 - 127) 
127 [ASCII] 




DO 07 


Oaaa 


aaaa 


Rhythm Name 8 


32 - 


(32 - 127) 
127 [ASCII] 




DO 08 


Oaaa 


aaaa 


Rhythm Name 9 


32 - 


(32 - 127) 
127 [ASCII] 




DO 09 


Oaaa 


aaaa 


Rhythm Name 10 


32 - 


(32 - 127) 
127 [ASCII] 




DO OA 


Oaaa 


aaaa 


Rhythm Name 11 


32 - 


(32 - 127) 
127 [ASCII] 




DO OB 


Oaaa 


aaaa 


Rhythm Name 12 




(32 - 127) 












32 - 


127 [ASCII] 




00 OC 


Oaaa 


aaaa 


Rhythm Level 




(0 - 127) 




00 OD 


0000 


0000 


(reserve) <*> 






# 


00 OE 


DODO 
DODO 


0000 

0000 


(reserve) <*> 








DO ID 


DODO 


0000 


(reserve) <*> 








DO 11 


DODO 


aaaa 


Rhythm Output Assign 

1, 2. 


MFX, A, 

3, 4. , - 


(0 - 13) 














TONE 


00 


00 00 12 


Tota 


1 Size 









Offset 














Address 






Description 






00 


00 


Oaaa 


aaaa 


MFX Type 




(0 - 127) 


00 


01 


Oaaa 


aaaa 


MFX Dry Send Level 




(0 - 127) 


00 


02 


Oaaa 


aaaa 


MFX Chorus Send Level 




(0 - 127) 


00 


03 


Oaaa 


aaaa 


MFX Reverb Send Level 




(0 - 127) 


00 


04 


DODO 


OOaa 


MFX Output Assign 


A, 


(0 - 3) 


DO 


05 


Oaaa 


aaaa 


MFX Control 1 Source 

OFF. 


CCOl - CC31, 
BEND. AFT, 


(0 - 101) 
CC33 - CC95. 
SYSl - SYS4 


DO 


06 


Oaaa 


aaaa 


MFX Control 1 Sens 




(1 - 127) 
-63 - +63 


DO 


07 


Daaa 


aaaa 


MFX Control 2 Source 

OFF. 


CCOl - CC31, 
BEND . AFT , 


(D - 101) 
CC33 - CC95. 
SYSl - SYS4 


DO 


08 


Oaaa 


aaaa 


MFX Control 2 Sens 




(1 - 127) 
-63 - +63 


DO 


09 


Daaa 


aaaa 


MFX Control 3 Source 

OFF. 


CCOl - CC31, 
BEND . AFT , 


(D - 101) 
CC33 - CC95. 
SYSl - SYS4 


DO 


OA 


Daaa 


aaaa 


MFX Control 3 Sens 




(1 - 127) 
-63 - +63 


DO 


OB 


Daaa 


aaaa 


MFX Control 4 Source 

OFF. 


CCOl - CC31, 
BEND . AFT , 


(D - 101) 
CC33 - CC95. 
SYSl - SYS4 


00 


OC 


Daaa 


aaaa 


MFX Control 4 Sens 




(1 - 127) 
-63 - +63 


DO 


OD 


DODa 


aaaa 


MFX Control Assign 1 




(0 - 15) 
OFF. 1-15 


DO 


OE 


DODa 


aaaa 


MFX Control Assign 2 




(0 - 15) 
OFF. 1-15 


DO 


OF 


DODa 


aaaa 


MFX Control Assign 3 




(0 - 15) 




233 




JUNO-G_e.book 234'^-y 2006^2^130 ^BIH ^lS2a$445J- 



MIDI Implementation 



00 


10 


onoa 


aaaa 


on 


11 


onon 


aaaa 






onon 


bbbb 






onon 


cccc 






onon 


dddd 


on 


15 


onon 


aaaa 






onon 


bbbb 






onon 


cccc 






onon 


dddd 


on 


19 


onon 


aaaa 






onon 


bbbb 






onon 


cccc 






onon 


dddd 


on 


Id 


onon 


aaaa 






onon 


bbbb 






onon 


cccc 






onon 


dddd 


on 


21 


onon 


aaaa 






onon 


bbbb 






onon 


cccc 






onon 


dddd 


on 


25 


onon 


aaaa 






onon 


bbbb 






onon 


cccc 






onon 


dddd 


on 


29 


onon 


aaaa 






onon 


bbbb 






onon 


cccc 






onon 


dddd 


on 


2D 


onon 


aaaa 






onon 


bbbb 






onon 


cccc 






onon 


dddd 


on 


31 


onon 


aaaa 






onon 


bbbb 






onon 


cccc 






onon 


dddd 


on 


35 


onon 


aaaa 






onon 


bbbb 






onon 


cccc 






onon 


dddd 


on 


39 


onon 


aaaa 






onon 


bbbb 






onon 


cccc 






onon 


dddd 


on 


3D 


onon 


aaaa 






onon 


bbbb 






onon 


cccc 






onon 


dddd 


on 


41 


onon 


aaaa 






onon 


bbbb 






onon 


cccc 






onon 


dddd 


on 


45 


onon 


aaaa 






onon 


bbbb 






0000 


cccc 






0000 


dddd 


on 


49 


0000 


aaaa 






0000 


bbbb 






0000 


cccc 






0000 


dddd 


on 


4d 


0000 


aaaa 






0000 


bbbb 






0000 


cccc 






0000 


dddd 


on 


51 


0000 


aaaa 






0000 


bbbb 






0000 


cccc 






0000 


dddd 


on 


55 


0000 


aaaa 






0000 


bbbb 






0000 


cccc 






0000 


dddd 


on 


59 


0000 


aaaa 






0000 


bbbb 






0000 


cccc 






0000 


dddd 


on 


5D 


0000 


aaaa 






0000 


bbbb 






0000 


cccc 






0000 


dddd 


on 


fil 


0000 


aaaa 






0000 


bbbb 






0000 


cccc 






0000 


dddd 


on 


65 


0000 


aaaa 






0000 


bbbb 






0000 


cccc 






0000 


dddd 


on 


69 


0000 


aaaa 






0000 


bbbb 






0000 


cccc 






0000 


dddd 


on 


6D 


0000 


aaaa 






0000 


bbbb 






0000 


cccc 






0000 


dddd 


on 


71 


0000 


aaaa 






0000 


bbbb 






0000 


cccc 






0000 


dddd 


on 


75 


0000 


aaaa 






0000 


bbbb 






0000 


cccc 






0000 


dddd 


on 


79 


0000 


aaaa 






0000 


bbbb 






0000 


cccc 






0000 


dddd 



MFX Control Assign 4 



MFX Parameter 1 



MFX Parameter 2 



MFX Parameter 3 



MFX Parameter 4 



MFX Parameter 5 



MFX Parameter 6 



MFX Parameter 7 



MFX Parameter 8 



MFX Parameter 9 



MFX Parameter 10 



MFX Parameter 11 



MFX Parameter 12 



MFX Parameter 13 



MFX Parameter 14 



MFX Parameter 15 



MFX Parameter 16 



MFX Parameter 17 



MFX Parameter 18 



MFX Parameter 19 



MFX Parameter 20 



MFX Parameter 21 



MFX Parameter 22 



MFX Parameter 23 



MFX Parameter 24 



MFX Parameter 25 



MFX Parameter 26 



MFX Parameter 27 



OFF, 
OFF, 



1-16 
(0 - 16) 
1-16 



DODO bbbb 



DODO dddd 



DODO bbbb 



0000 dddd 



000 bbbb 
0000 cccc 
0000 dddd 



0000 bbbb 



00 dddd 



00 00 01 11 I Total Si 



ORhythm Common Chorus 



Off 


Address 






Description 






00 00 


0000 aaaa 


Chor 


us Type 


(0 - 3) 




00 01 


Oaaa aaaa 


Chor 


us Level 


(0 - 127) 




00 02 


0000 OOaa 


Chor 


us Output Assign 


(0 - 3) 

A, B. , 




00 03 


0000 OOaa 


Chor 


us Output Select 


(0 - 2) 

MAIN, REV, MAIN+REV 










# 


00 04 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 1 


(12768 - 52768) 
-20000 - +20000 


# 


00 08 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 2 


(12768 - 52768) 
-20000 - +20000 


# 


00 OC 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 3 


(12768 - 52768) 
-20000 - +20000 


# 


00 10 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 4 


(12768 - 52768) 
-20000 - +20000 


# 


00 14 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 5 


(12768 - 52768) 
-20000 - +20000 


# 


00 18 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 6 


(12768 - 52768) 
-20000 - +20000 


# 


00 IC 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 7 


(12768 - 52768) 
-20000 - +20000 


# 


00 20 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 8 


(12768 - 52768) 
-20000 - +20000 


# 


00 24 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 9 


(12768 - 52768) 
-20000 - +20000 


# 


00 28 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 10 


(12768 - 52768) 
-20000 - +20000 


# 


00 2C 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 11 


(12768 - 52768) 
-20000 - +20000 


# 


00 30 


0000 aaaa 
00 bbbb 
0000 cccc 












0000 dddd 


Chorus Parameter 12 


(12768 - 52768) 












-20000 - +20000 


# 


00 34 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 13 


(12768 - 52768) 
-20000 - +20000 


# 


00 38 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 14 


(12768 - 52768) 
-20000 - +20000 


# 


00 3C 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 15 


(12768 - 52768) 
-20000 - +20000 


# 


00 40 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 16 


(12768 - 52768) 
-20000 - +20000 


# 


00 44 


00 aaaa 
0000 bbbb 
0000 cccc 












00 dddd 


Chor 


us Parameter 17 


(12768 - 52768) 
-20000 - +20000 


# 


00 48 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 18 


(12768 - 52768) 
-20000 - +20000 


# 


00 4C 


0000 aaaa 
0000 bbbb 
0000 cccc 












0000 dddd 


Chor 


us Parameter 19 


(12768 - 52768) 
-20000 - +20000 




234 




JUNO-G_e.book 235 '^-v 2006^2^130 ^BIH ^1»2a$445j- 



MIDI Implementation 



(^ 



0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 



00 00 00 54 



ORhythm Common Reverb 



Off 


set 

Address 




Description 








00 00 


0000 aaaa 


Reverb Type 




(0 - 5) 




00 01 


Oaaa aaaa 


Reverb Level 




(0 - 127) 




00 02 


0000 OOaa 


Reverb Output As 


sign 


(0 - 3) 
A, B, ---, --- 














# 


00 03 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


1 


(12768 - 52768) 
-20000 - +20000 


# 


00 07 


0000 aaaa 
00 00 bbbb 

0000 cccc 












0000 dddd 


Reverb Parameter 


2 


(12768 - 52768) 
-20000 - +20000 


# 


00 OB 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


3 


(12768 - 52768) 
-20000 - +20000 


# 


00 OF 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


4 


(12768 - 52768) 
-20000 - +20000 


# 


00 13 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


5 


(12768 - 52768) 
-20000 - +20000 


# 


00 17 


0000 aaaa 
00 00 bbbb 

0000 cccc 












0000 dddd 


Reverb Parameter 


6 


(12768 - 52768) 
-20000 - +20000 


# 


00 IB 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


7 


(12768 - 52768) 
-20000 - +20000 


# 


00 IF 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


8 


(12768 - 52768) 
-20000 - +20000 


# 


00 23 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


9 


(12768 - 52768) 
-20000 - +20000 


# 


00 27 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


10 


(12768 - 52768) 
-20000 - +20000 


# 


00 2b 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


11 


(12768 - 52768) 
-20000 - +20000 


# 


00 2f 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


12 


(12768 - 52768) 
-20000 - +20000 


# 


00 33 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


13 


(12768 - 52768) 
-20000 - +20000 


# 


00 37 


0000 aaaa 
00 00 bbbb 
0000 cccc 












00 00 dddd 


Reverb Parameter 


14 


(12768 - 52768) 
-20000 - +20000 


# 


00 3B 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


15 


(12768 - 52768) 
-20000 - +20000 


# 


00 3F 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


16 


(12768 - 52768) 
-20000 - +20000 


# 


00 43 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


17 


(12768 - 52768) 
-20000 - +20000 


# 


00 47 


0000 aaaa 
00 00 bbbb 
0000 cccc 












0000 dddd 


Reverb Parameter 


18 


(12768 - 52768) 
-20000 - +20000 


# 


00 4B 


0000 aaaa 
00 00 bbbb 

0000 cccc 












0000 dddd 


Reverb Parameter 


19 


(12768 - 52768) 
-20000 - +20000 


# 


00 4F 


0000 aaaa 
00 00 bbbb 

0000 cccc 












0000 dddd 


Reverb Parameter 


20 


(12768 - 52768) 
-20000 - +20000 


00 


00 00 53 


Total Size 









ORhythm Tone 



Offset 










Address 




Description 






00 00 


Oaaa aaaa 


Tone Name 1 


32 


(32 - 127) 
- 127 [ASCII] 


00 01 


Oaaa aaaa 


Tone Name 2 


32 


(32 - 127) 
- 127 [ASCII] 


00 02 


Oaaa aaaa 


Tone Name 3 


32 


(32 - 127) 

- 127 [ASCII] 


00 03 


Oaaa aaaa 


Tone Name 4 




(32 - 127) 



Tone Name 5 

Tone Name 5 
Tone Name 7 
Tone Name 8 
Tone Name 9 
Tone Name 10 
Tone Name 11 
Tone Name 12 



127 [ASCII] 

(32 - 127) 
127 [ASCII] 

(32 - 127) 
127 [ASCII] 

(32 - 127) 
127 [ASCII] 

(32 - 127) 
127 [ASCII] 

(32 - 127) 
127 [ASCII] 

(32 - 127) 
127 [ASCII] 

(32 - 127) 
127 [ASCII] 

(32 - 127) 
127 [ASCII] 



Assign Type 
Mute Group 



(0 



1) 



MULTI, SINGLE 

(0 - 31) 

OFF, 1-31 



DO 12 
DO 13 



Tone Fine Tune 

Tone Random Pitch Depth 

0, 1, 
10. 2D, 

90, 
600, 7( 

Tone Pan 

Tone Random Pan Depth 
Tone Alternate Pan Depth 

Tone Env Mode 



3D, 4D, 
lOD, 2D( 
0, 800, 



6D, 7D, 8D, 



, 30D, 
900, IDOD, 



(D - 127) 

L64 - 53R 

(0 - 63) 

(1 - 127) 

L63 - 53R 

(0 - 1) 

NO-SUS, SUSTAIN 



00 15 

00 17 

00 18 

DO 19 

DO lA 

00 IB 



Tone Dry Send Level 
Tone Chorus Send Leve 
Tone Reverb Send Leve 
Tone Chorus Send Leve 
Tone Reverb Send Leve 
Tone Output Assign 

1, 



127) 
127) 
127) 
127) 
127) 
- 12) 



MFX, A, B, 



DODO OOOa 
DODO OOOa 



Tone Pitch Bend Range 
Tone Receive Express ii 



Tone Receive Hold-1 
Tone Receive Pan Mode 



(0 - 48) 
(0 - 1) 

OFF, OM 
(0 - 1) 

OFF, ON 

(0 - 1) 

CONTINUOUS , KEY-ON 



WMT Velocity Coi 



(0 



2) 



OFF, ON, RANDOM 



DO 4C 

DO 4D 

DO 4E 

DO 4f 

DO 50 

DO 51 

DO 52 



DODO ODaa 

0000 aaaa 

0000 bbbb 

0000 cccc 

00 DO dddd 

DODO aaaa 

DODO bbbb 

DODO cccc 

DODO dddd 

0000 aaaa 

0000 bbbb 

0000 cccc 

0000 dddd 

DODO ODaa 

DODO OOOa 

DODO ODaa 



DODO OOOa 
DODO ODaa 



0000 aaaa 

0000 bbbb 

0000 cccc 

00 00 dddd 



DODO 00a. 
DODO 000, 



WMTl Wave Switch 
WMTl Wave Group Type 



WMTl Wave Group ID 



WMTl Wave Number L (Mono) 



OFF, ON 
(0 - 2) 

INT, SRX, SAMPLE 



(D - 16384) 
OFF, 1 - 16384 



(D - 16384) 
OFF, 1 - 16384 



WMTl 

WMTl 

WMTl 

WMTl 

WMTl 
WMTl 

WMTl 

WMTl 
WMTl 
MMTl 
WMTl 



WMTl 
WMTl 
WMT2 






Velof 
Velof 



FXM Switch 

FXM Color 

FXM Depth 
Tempo Sync 

Coarse Tune 

Fine Tune 

Pan 

Random Pan Switch 

Alternate Pan Switc' 

city Range Lower 

city Range Upper 

city Fade Width Lowe 
city Fade Width Uppe 
Switch 



- 3) 

- 4 
- IS) 



REVERSE 


D 


- 127) 


1 


- 127) 


- 


UPPER 


1 


- 127) 


R 


- 127 


D 


- 127) 


D 


- 127) 



WMT2 Wave Group Type 

WMT2 Wave Group ID 

WMT2 Wave Number L (Mono) 

WMT2 Wave Number R 

WMT2 Wave Gain 

MMT2 Wave FXM Switch 

WMT2 Wave FXM Color 

WMT2 Wave FXM Depth 
WMT2 Wave Tempo Sync 



INT, SRX, SAMPLE 



(0 


- 16384) 


OFF, 1 


- 16384 


(0 


- 16384) 


OFF, 1 


- 16384 


(0 


- 16384) 


OFF, 1 


- 16384 




(0 - 3) 


. +5, 


12 [dB] 




(0 - 1) 




OFF, ON 



WMT2 Wave Co, 
MMT2 Wave Fi: 



se Tune 
■ Tune 



OFF, ON 

(16 - 112) 




235 




JUNO-G_e.book ZSS'^-y 2006^2^130 ^BIH ^1»2a$445j- 



MIDI Implementation 



00 53 

00 54 
00 55 



00 59 

00 5A 

00 5B 

00 5C 

00 5D 



00 69 

00 6A 

00 6B 

00 6C 

00 6D 

00 6E 

00 6F 

00 70 

00 71 

00 72 



00 76 

00 77 

00 78 

00 79 

00 7A 



01 06 

01 07 

01 08 

01 09 

01 OA 

01 OB 

01 OC 

01 OD 

01 OE 

01 OF 



01 


1 3 


01 


14 


01 


15 


01 


16 


01 


17 


01 


18 


01 


19 


01 


1 A 


01 


IB 


01 


1C 


01 


ID 


01 


IE 


01 


IF 


01 


20 


01 


21 



0000 000a 
0000 OOaa 



0000 000a 

0000 OOaa 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 OOaa 

0000 000a 

0000 OOaa 



0000 000a 
0000 OOaa 



0000 000a 

0000 OOaa 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

00 00 dddd 

0000 aaaa 

00 00 bbbb 

0000 cccc 

0000 dddd 

0000 OOaa 

0000 000a 

0000 OOaa 



0000 000a 
0000 OOaa 



mMT2 Wave Pan 



WMT2 Wave Random Pai 



WMT2 Wave Alt 



Pan Switch 



WMT2 Wave Level 

WMT2 Velocity Range Lower 

WMT2 Velocity Range Upper 

mMT2 Velocity Fade Width Lowe 
mMT2 Velocity Fade Width Uppe 
mMT3 Wave Switch 

WMT3 Wave Group Type 



WMT3 Wave Group ID 



(0 - 


127) 


L64 - 


63R 


(0 


- 1) 


OFF 


ON 


(0 


- 2) 


ON, REVERSE 


(0 - 


127) 


(1 - 


127) 


1 - UPPER 


(1 - 


127) 


LOWER - 


127 


(0 - 


127) 


(0 - 


127) 


(0 


- 1) 


OFF 


ON 



INT, SRX, SAMPLE 



mMT3 Wave Numbe: 



WMT3 Wave Number R 

WMT3 Wave Gain 

WMT3 Wave FXM Switch 

WMTS Wave FXM Color 

WMTS Wave FXM Depth 

mMT3 Wave Tempo Sync 

WMT3 Wave Coarse Tune 

WMT3 Wave Fine Tune 

WMT3 Wave Pan 

WMT3 Wave Random Pan Switch 

WMT3 Wave Alternate Pan Switch 

WMT3 Wave Level 

WMT3 Velocity Range Lower 

WMT3 Velocity Range Upper 



D 


(0 

OFF, 1 


16384) 
16384 


L (Mono) 


(0 

OFF, 1 


16384) 
16384 





- 16384 


OFF, 


1 - 16384 




(0 - 3 


, +6 


+12 [dB] 




(0-1 




OFF, ON 



WMT3 
mMT3 

mMT4 



Velocity Fade Width Lowe 
Velocity Fade Width Uppe 
Wave Switch 



mMT4 Wave Group Type 



WMT4 Wave Group ID 



WMT4 Wave Number L (Mono) 



OFF 


ON 


(16 - 


112) 


-48 - 


+ 48 


(14 - 


114) 


-50 - 


+ 50 


(0 - 


127) 


L64 - 


63R 


(0 


- 1) 


OFF 


ON 


(0 


- 2) 


ON, REVERSE 


(0 - 


127) 


(1 - 


127) 


1 - UPPER 


(1 - 


127) 


LOWER - 


127 


(0 - 


127) 


(0 - 


127) 


(0 


- 1) 


OFF 


ON 


(0 


- 2) 


SRX, SAMPLE 



WMT4 

WMT4 

WMT4 

WMT4 

WMT4 
WMT4 

WMT4 

WMT4 

WMT4 

WMT4 

WMT4 



Wave Number R 

Wave Gain 

Wave FXM Switch 

Wave FXM Color 

Wave FXM Depth 
Wave Tempo Sync 

Wave Coarse Tune 

Wave Fine Tune 

Wave Pan 

Wave Random Pan Switch 

Wave Alternate Pan Switch 



OFF, 


(0 

1 


- 16384) 

- 16384 


OFF, 
, +6 


(0 - 16384) 

1 - 16384 

(0 - 3) 

, +12 [dB] 

(0 - 1) 

OFF, ON 



(0 - 


127 


L64 - 


63R 


(0 


- 1 


OFF 


ON 



(0 



2) 



OFF, ON, REVERSE 
(0 - 127) 
(1 - 127) 
1 - UPPER 
(1 - 127) 
LOWER - 127 
ity Fade Width Lower (0 - 127) 

ity Fade Width Upper (0 - 127) 



ity Range Uppe' 



itch 
itch 
itch 
itch 
itch 



Env Depth 

Env Velocity Sens 

Env Time 1 Velocity Se: 

Env Time 4 Velocity Se: 

Env Time 1 
Env Time 2 
Env Time 3 
Env Time 4 
Env Level 

Env Level 1 

Env Level 2 
Env Level 3 
Env Level 4 



(52 



76) 



127) 
+ 63 
127) 
127) 
127) 
127) 
127) 
+ 63 
127) 



■ Type 



TVF Cutoff Velocity S 

TVP Resonance 
TVF Resonance Vel. 



OFF, 

Curv 


LPF, 


BPF, 


HPF, PKG, LPF2, 

LPF3 

(0 - 127) 

(0 - 7) 

FIXED, 1-7 


Sens 






(1 - 127) 

-63 - +63 

(0 - 127) 


ty S 


ns 




(1 - 127) 



01 2B 

01 2C 

01 2d 

01 2E 

01 2F 

01 30 

01 31 

01 32 

01 33 

01 34 

01 35 



TVF 


Env 


Depth 


TVF 


Env 


Velocity Curve Typ 


TVF 


Env 


Velocity Sens 


TVF 


Env 


Time 1 Velocity Se 


TVF 


Env 


Time 4 Velocity Se 


TVF 


Env 


Time 1 


TVF 


Env 


Time 2 


TVF 


Env 


Time 3 


TVF 


Env 


Time 4 


TVF 


Env 


Level 


TVF 


Env 


Level 1 


TVF 


Env 


Level 2 


TVF 


Env 


Level 3 


TVF 


Env 


Level 4 



01 35 



TVA Level Velocity Curve 
TVA Level Velocity Sens 
TVA Env Time 1 Velocity Se' 
TVA Env Time 4 Velocity Se' 



01 41 0000 
01 42 



TVA 


Env 


Time 1 


TVA 


Env 


Time 2 


TVA 


Env 


Time 3 


TVA 


Env 


Time 4 


TVA 


Env 


Level 1 


TVA 


Env 


Level 2 


TVA 


Env 


Level 3 


One 


Shot Mode 


Afterto 


ich Time 



00 00 01 43 



-63 - +63 

(1 - 127) 



+ 63 
127) 
127) 
127) 
127) 
127) 
127) 
127) 
127) 
127) 



7) 



- 


127) 


u - 


127) 


11 - 


127) 


- 


127) 


- 


127) 


n - 


127) 


- 


127) 


(0 


- 1) 


Oh'K 


ON 


1 - 


127) 




236 




JUNO-G_e.book 237 '^-y 2006^2^130 ^BIH ^lS2a$445J- 



MIDI Implementation 



5.2 GS (Model ID = 42H) 



OSystem Parameter 



Start 








Address 




Description 




# 40 00 00 


0000 aaaa 
00 00 bbbb 
0000 cccc 








0000 dddd 


Master Tune 


(24 - 2024) 
-100.0 - 100.0 [cent] 


40 00 04 


Oaaa aaaa 


Master Volume 


(0 - 127) 


40 00 05 


Oaaa aaaa 


Master Key Shift 


(40 - 88) 
-24 - +24 [semitone] 


40 00 06 


Oaaa aaaa 


Master Pan 


(1 - 127) 
L63 - 63R 


40 00 7F 


Oaaa aaaa 


Mode Set 


(0, 127) 

GS-RESET, GS-EXIT 











OCommon Parameter 






40 01 10 

40 01 11 

40 01 12 

40 01 13 

40 01 14 

40 01 15 

40 01 16 

40 01 17 

40 01 18 

40 01 19 

40 01 lA 

40 01 IB 

40 01 IC 

40 01 ID 

40 01 IE 

40 01 IF 



Voii 



■ Res 



40 01 30 

40 01 31 

40 01 32 

40 01 33 

40 01 34 

40 01 35 

40 01 36 



Reverb Macro 
Reverb Character 
Reverb Pre— LPF 
Reverb Level 
Reverb Time 
Reverb Delay Feedb 
Reverb Send Level 



40 01 38 

40 01 39 

40 01 3A 

40 01 3B 

40 01 3C 

40 01 3D 

40 01 3E 

40 01 3F 



Chorus 


Macro 


Chorus 


Pre-LPF 


Chorus 


Level 


Chorus 


Feedback 


Chorus 


Delay 


Chorus 


Rate 


Chorus 


Depth 


Chorus 


Send Level 



OPart Parameter 



- 7) 

- 7) 
127) 
127) 
127) 
127) 



- 7) 

- 7) 

127) 
127) 
127) 
127) 
127) 
127) 



Start 












Address 






Description 




# 40 Ix 00 


Oaaa 


aaaa 


Tone Number CC#00 Value 


(0 - 127) 




Oaaa 


aaaa 


Tone Number PC Value 


(0 - 127) 


40 Ix 02 


Oaaa 


aaaa 


Rx. Channel 


(0 - 16) 












1-16, OFF 


40 Ix 03 


0000 


000a 


Rx 


Pitch Bend 


(0 - 1) 
OFF, ON 


40 Ix 04 


0000 


000a 


Rx 


Channel Pressure 


(0 - 1) 
OFF, ON 


40 Ix 05 


0000 


000a 


Rx 


Program Change 


(0 ~ 1) 
OFF, ON 


40 Ix 06 


0000 


000a 


Rx 


Control Change 


(0 - 1) 
OFF, ON 


40 Ix 07 


0000 


000a 


Rx 


Poly Pressure 


(0 - 1) 
OFF, ON 


40 Ix 08 


0000 


000a 


Rx 


Note Message 


(0 - 1) 
OFF, ON 


40 Ix 09 


0000 


000a 


Rx 


RPN 


(0 - 1) 
OFF, ON 


40 Ix OA 


0000 


000a 


Rx 


NRPN 


(0 - 1) 
OFF, ON 


40 Ix OB 


0000 


000a 


Rx 


Modulation 


(0 - 1) 
OFF, ON 


40 Ix OC 


0000 


000a 


Rx 


Volume 


(0 - 1) 
OFF, ON 


40 Ix OD 


0000 


000a 


Rx 


Panpot 


(0 - 1) 
OFF, ON 


40 Ix OF 


0000 


000a 


Rx 


Expression 


(0 - 1) 
OFF, ON 


40 Ix OF 


0000 


000a 


Rx 


Hold~l 


(0 - 1) 
OFF, ON 


40 Ix 10 


0000 


000a 


Rx 


Portamento 


(0 - 1) 
OFF, ON 


40 Ix 11 


0000 


000a 


Rx 


Sostenuto 


(0 - 1) 
OFF, ON 


40 Ix 12 


0000 


000a 


Rx 


Soft 


(0 - 1) 










OFF, ON 


40 Ix 13 


Oaaa 


.a.a 


Mono / Poly Mode 


(0 - 1) 

MODE, POLY 


40 Ix 14 


Oaaa 


aaaa 


Assign Mode<*> 


(0 - 2) 

SINGLE, LIMITED-MULTI, 

FULL-MULTI 


40 Ix 15 


Oaaa 


aaaa 


Use for Rhythm Part 


(0 - 2) 
OFF, MAPI, MAP2 


40 Ix 16 


Oaaa 


aaaa 


Pitch Key Shift 


(40 - 88) 
-24 - +24 [semitone] 


# 40 Ix 17 


0000 


aaaa 








0000 


bbbb 


Pitch Offset Fine 


(8 - 248) 

-12.0 - +12.0 [Hz] 


40 Ix 19 


Oaaa 


aaaa 


Part Level (CC# 7) 


(0 - 127) 


40 Ix lA 


Oaaa 


aaaa 


Velocity Sens Depth 


(0 - 127) 
-64 - +63 


40 Ix IB 


Oaaa 


aaaa 


Velocity Sens Offset 


(0 - 127) 
-64 - +63 


40 Ix IC 


Oaaa 


aaaa 


Part Panpot (CC# 10) 


(0 - 127) 

RANDOM, L63 - 63R 


40 Ix ID 


Oaaa 


aaaa 


Keyboard Range Low 


(0 - 127) 


40 Ix IE 


Oaaa 


aaaa 


Keyboard Range High 


(0 - 127) 


40 Ix IF 


Oaaa 


aaaa 


CCl Controller Number 


(0 - 95) 


40 Ix 20 


Oaaa 


aaaa 


CC2 Controller Number 


(0 - 95) 


40 Ix 21 


Oaaa 


aaaa 


Chorus Send Level (CC# 93) 


(0 - 127) 


40 Ix 22 


Oaaa 


aaaa 


Re 


7erb Send Level |CC# 93) 


(0 - 127) 



4 Ix 2 3 
4 Ix 2 4 


DODO ODOa 
DODO ODOa 


Rx. Bank Select<*> (0 - 1) 

OFF. ON 
Rx. Bank Select LSB<*> (0 - 1) 

OFF , ON 


40 Ix 30 
40 Ix 31 
4 Ix 3 2 
4 Ix 3 3 
4 Ix 3 4 
4 Ix 3 5 
4 Ix 3 6 
4 Ix 3 7 


Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 


Tone Modify 1 (Vibrato Rate) (0 - 127) 

-64 - +63 

Tone Modify 2 (Vibrato Depth) (0 - 127) 

-64 - +63 
Tone Modify 3 (TVF Cutoff Freq.) (0 - 127) 

-64 - +63 
Tone Modify 4 (TVF Resonance) (0 - 127) 

-64 - +63 
Tone Modify 5 (TVF&TVA Env. Attack) (0 - 127) 

-64 - +63 
Tone Modify 6 (TVF&TVA Env. Decay) (0 - 127) 

-64 - +63 
Tone Modify 7 (TVF&TVA ENv. Release) (0 - 127) 

-64 - +63 
Tone Modify 8 (Vibrato Delay) (0 - 127) 

-64 - +63 


4 Ix 4 
40 Ix 41 
40 Ix 42 
40 Ix 43 
40 Ix 44 
4 Ix 4 5 
4 Ix 4 6 
40 Ix 47 
40 Ix 48 
40 Ix 49 
4 Ix 4a 
4 Ix 4B 


Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 


Scale Tuning C (0 - 127) 

-64 - +53 [cent] 
Scale Tuning C# (0 - 127) 

-54 - +53 [cent] 
Scale Tuning D (0 - 127) 

-54 - +53 [cent] 
Scale Tuning D# (0 - 127) 

-54 - +53 [cent] 
Scale Tuning E (0 - 127) 

-54 - +53 [cent] 
Scale Tuning F (0 - 127) 

-54 - +53 [cent] 
Scale Tuning F# (0 - 127) 

-54 - +53 [cent] 
Scale Tuning G (0 - 127) 

-54 - +53 [cent] 
Scale Tuning G# (0 - 127) 

-54 - +53 [cent] 
Scale Tuning A (0 - 127) 

-54 - +53 [cent] 
Scale Tuning A# (0 - 127) 

-54 - +53 [cent] 
Scale Tuning B (0 - 127) 

-54 - +53 [cent] 


40 2x 00 
40 2x 01 
40 2x 02 
40 2x 03 
40 2x 04 
40 2x 05 
40 2x 06 
40 2x 07 
40 2x 08 
40 2x 09 
4 2x OA 


Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 


Mod Pitch Control (40 - 88) 

-24 - +24 [semitone] 
Mod TVF Cutoff Control (0 - 127) 

-9600 - +9600 [cent] 
Mod Amplitude Control (0 - 127) 

-100.0 - +100 .0 [%] 
Mod LFOl Rate Control (0 - 127) 

-10.0 ~ +10.0 [Hz] 
Mod LFOl Pitch Control (0 - 127) 

- 600 [cent] 
Mod LFOl TVF Depth (0 - 127) 

- 2400 [cent] 
Mod LFOl TVA Depth (0 - 127) 

- 100.0 [%] 
Mod LF02 Rate Control (0 - 127) 

-10.0 - +10.0 [Hz] 
Mod LF02 Pitch Control (0 - 127) 

- 600 [cent] 
Mod LF02 TVF Depth (0 - 127) 

- 2400 [cent] 
Mod LF02 TVA Depth (0 - 127) 

- 100.0 [%] 


40 2x 10 
40 2x 11 
40 2x 12 
40 2x 13 
40 2x 14 
40 2x 15 
40 2x 16 
40 2x 17 
40 2x 18 
40 2x 19 
4 2x lA 


Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 


Bend Pitch Control (54 - 88) 

0-24 [semitone] 
Bend TVF Cutoff Control (0 - 127) 

-9600 - +9600 [cent] 
Bend Amplitude Control (0 — 127) 

-100.0 - +100.0 [%] 
Bend LFOl Rate Control (0 - 127) 

-10.0 - +10.0 [Hz] 
Bend LFOl Pitch Control (0 - 127) 

- 600 [cent] 
Bend LFOl TVF Depth (0 - 127) 

- 2400 [cent] 
Bend LFOl TVA Depth (0 - 127) 

- 100 .0 [%] 
Bend LF02 Rate Control (0 - 127) 

-10.0 - +10.0 [Hz] 
Bend LF02 Pitch Control (0 - 127) 

- 600 [cent] 
Bend LF02 TVF Depth (0 - 127) 

- 2400 [cent] 
Bend LF02 TVA Depth (0 - 127) 

- 100. [%] 


40 2x 20 
40 2x 21 
40 2x 22 
40 2x 23 
40 2x 24 
40 2x 25 
40 2x 26 
40 2x 27 
40 2x 28 
40 2x 29 
40 2x 2A 


Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 


CAf Pitch Control (40 - 88) 
-24 - +24 [semitone] 

CAf TVF Cutoff Control (0 - 127) 

-9600 - +9600 [cent] 
CAf Amplitude Control (0 - 127) 

-100.0 - +100 .0 [%] 
CAf LFOl Rate Control (0 - 127) 

-10.0 - +10.0 [Hz] 
CAf LFOl Pitch Control (0 - 127) 
~ 600 [cent] 

CAf LFOl TVF Depth (0 - 127) 

- 2400 [cent] 

CAf LFOl TVA Depth (0 - 127) 

- 100.0 [%] 
CAf LF02 Rate Control (0 - 127) 

-10.0 - +10.0 [Hz] 
CAf LF02 Pitch Control (0 - 127) 
- 600 [cent] 

CAf LF02 TVF Depth (0 - 127) 

- 2400 [cent] 

CAf LF02 TVA Depth (0 - 127) 

- 100.0 [%] 


40 2x 30 
40 2x 31 
40 2x 32 
40 2x 33 
40 2x 34 
40 2x 35 
40 2x 36 
40 2x 37 
40 2x 38 
40 2x 39 
40 2x 3a 


Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 
Oaaa aaaa 


PAf Pitch Control (40 - 88) 

-24 - +24 [semitone] 
PAf TVF Cutoff Control (0 - 127) 

-9600 - +9600 [cent] 
PAf Amplitude Control (0 - 127) 

-100.0 - +100 .0 [%] 
PAf LFOl Rate Control (0 - 127) 

-10.0 - +10.0 [Hz] 
PAf LFOl Pitch Control (0 - 127) 
- 600 [cent] 

PAf LFOl TVF Depth (0 - 127) 

- 2400 [cent] 

PAf LFOl TVA Depth (0 - 127) 

- 100 .0 [%] 
PAf LF02 Rate Control (0 - 127) 

-10.0 - +10.0 [Hz] 
PAf LF02 Pitch Control (0 - 127) 
- 600 [cent] 

PAf LF02 TVF Depth (0 - 127) 

- 2400 [cent] 

PAf LF02 TVA Depth (0 - 127) 

- 100.0 [%] 




237 




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MIDI Implementation 













40 2x 40 


Oaaa aaaa 


CCl 


Pitch Control 


(40 - 88) 
-24 - +24 [semitone] 


40 2x 41 


Oaaa aaaa 


CCl 


TVF Cutoff Control 


(0 - 127) 

-9600 - +9600 [cent] 


40 2x 42 


Oaaa aaaa 


CCl 


Amplitude Control 


(0 - 127) 

-100.0 - +100.0 [%] 


40 2x 43 


Oaaa aaaa 


CCl 


LFOl Rate Control 


(0 - 127) 

-10.0 - +10.0 [Hz] 


40 2x 44 


Oaaa aaaa 


CCl 


LFOl Pitch Control 


(0 - 127) 
- 600 [cent] 


40 2x 45 


Oaaa aaaa 


CCl 


LFOl TVF Depth 


(0 - 127) 
- 2400 [cent] 


40 2x 46 


Oaaa aaaa 


CCl 


LFOl TVA Depth 


(0 - 127) 
- 100.0 [%] 


40 2x 47 


Oaaa aaaa 


CCl 


LF02 Rate Control 


(0 - 127) 

-10.0 - +10.0 [Hz] 


40 2x 48 


Oaaa aaaa 


CCl 


LF02 Pitch Control 


(0 - 127) 
- 600 [cent] 


40 2x 49 


Oaaa aaaa 


CCl 


LF02 TVF Depth 


(0 - 127) 
- 2400 [cent] 


40 2x 4a 


Oaaa aaaa 


CCl 


LF02 TVA Depth 


(0 - 127) 
- 100.0 [%] 


40 2x 50 


Oaaa aaaa 


CC2 


Pitch Control 


(40 - 88) 
-2 4 - +2 4 [semitone] 


40 2x 51 


Oaaa aaaa 


CC2 


TVF Cutoff Control 


(0 - 127) 
-9600 - +9600 [cent] 


40 2x 52 


Oaaa aaaa 


CC2 


Amplitude Control 


(0 - 127) 

-100.0 - +100.0 [%] 


40 2x 53 


Oaaa aaaa 


CC2 


LFOl Rate Control 


(0 - 127) 
-10.0 - +10.0 [Hz] 


40 2x 54 


Oaaa aaaa 


CC2 


LFOl Pitch Control 


(0 - 127) 
- 600 [cent] 


40 2x 55 


Oaaa aaaa 


CC2 


LFOl TVF Depth 


(0 - 127) 
- 2400 [cent] 


40 2x 56 


Oaaa aaaa 


CC2 


LFOl TVA Depth 


(0 - 127) 

- 100.0 [%] 


40 2x 57 


Oaaa aaaa 


CC2 


LF02 Rate Control 


(0 - 127) 
-10.0 - +10.0 [Hz] 


40 2x 58 


Oaaa aaaa 


CC2 


LF02 Pitch Control 


(0 - 127) 
- 600 [cent] 


40 2x 59 


Oaaa aaaa 


CC2 


LF02 TVF Depth 


(0 - 127) 
- 2400 [cent] 


40 2x 5A 


Oaaa aaaa 


CC2 


LF02 TVA Depth 


(0 - 127) 
- 100.0 [%] 



x: BLOCK NUMBER (0-F) 

Part 1 (MIDI ch ^ 1 ) x = 1 

Part 2 (MIDI ch ^ 2 ) x ^ 2 

Part 9 (MIDI ch ^ 9 ) x ^ 9 

PartlO (MIDI ch ^ 10) x ^ 

Partll (MIDI ch ^ 11) x ^ A 

Partl2 (MIDI ch ^ 12) x ^ B 

Partie (MIDI ch = 16) x = F 



ODrum Setup Parameter 



start 








Address 




Description 




41 mO 


Oaaa aaaa 


Drum Map Name 1 


(32 - 127) 
32 - 127 [ASCII] 


41 mO 01 


Oaaa aaaa 


Drum Map Name 2 


(32 - 127) 

32 - 127 [ASCII] 


41 mO 02 


Oaaa aaaa 


Drum Map Name 3 


(32 - 127) 
32 - 127 [ASCII] 


41 mO 3 


Oaaa aaaa 


Drum Map Name 4 


(32 - 127) 
32 - 127 [ASCII] 


41 mO 04 


Oaaa aaaa 


Drum Map Name 5 


(32 - 127) 
32 - 127 [ASCII] 


41 mO 5 


Oaaa aaaa 


Drum Map Name 6 


(32 - 127) 
32 - 127 [ASCII] 


41 mO 6 


Oaaa aaaa 


Drum Map Name 7 


(32 - 127) 
32 - 127 [ASCII] 


41 mO 07 


Oaaa aaaa 


Drum Map Name 8 


(32 - 127) 
32 - 127 [ASCII] 


41 mO 8 


Oaaa aaaa 


Drum Map Name 9 


(32 - 127) 
32 - 127 [ASCII] 


41 mO 9 


Oaaa aaaa 


Drum Map Name 10 


(32 - 127) 
32 - 127 [ASCII] 


41 mO OA 


Oaaa aaaa 


Drum Map Name 11 


(32 - 127) 

32 - 127 [ASCII] 


41 mO OB 


Oaaa aaaa 


Drum Map Name 12 


(32 - 127) 

32 - 127 [ASCII] 


41 ml rr 


Oaaa aaaa 


Play Note Number 


(0 - 127) 


41 m2 rr 


Oaaa aaaa 


Level 


(0 - 127) 


41 m3 rr 


Oaaa aaaa 


Assign Group Number 


(0 - 127) 
NON, 1 - 127 


41 m4 rr 


Oaaa aaaa 


Panpot 


(0 - 127) 

RAMDOM, L63 - 63R 


41 m5 rr 


Oaaa aaaa 


Reverb Send Level 


(0 - 127) 
0.0 - 1.0 


41 m6 rr 


Oaaa aaaa 


Chorus Send Level 


(0 - 127) 
0.0 - 1.0 


41 m7 rr 


0000 000a 


Rx. Note Off 


(0 ~ 1) 
OFF, ON 


41 m8 rr 


0000 000a 


Rx. Note On 


(0 - 1) 
OFF, ON 











m: Map number (0 = MAPI, 1 = MAP2) 
rr: drum part note number (00H-7FH) 



6. Supplementary Material 
■Decimal and Hexadecimal Table 

(An "H" is appended to the end of numbers in hexadecimal notation.) 

In MIDI documentation, data values and addresses/ sizes of Exclusive messages, etc. are 

expressed as hexadecimal values for each 7 bits. 

The following table shows how these correspond to decimal numbers. 





1 


OOH 
OIH 


2 


02H 


3 


03H 


4 


04H 


5 


05H 


6 


06H 


7 


07H 


8 


08H 


9 


09H 


10 


OAH 


11 


OBH 


12 


OCH 


13 


ODH 


14 


OEH 


15 


OFH 


16 


lOH 


17 


IIH 


18 


12H 


19 


13H 


20 


14H 


21 


15H 


22 


16H 


23 


17H 


24 


18H 


25 


19H 


26 


lAH 


27 


IBH 


28 


ICH 


29 


IDH 


30 


lEH 


31 


IFH 


D: decima 


1 


H: hexade 


cimal 



32 


2 OH 


33 


21H 


34 


22H 


35 


23H 


36 


24H 


37 


2 5H 


38 


2 6H 


39 


27H 


40 


2 8H 


41 


2 9H 


42 


2 AH 


43 


2BH 


44 


2CH 


45 


2DH 


46 


2 EH 


47 


2 EH 


48 


3 OH 


49 


31H 


50 


32H 


51 


33H 


52 


34H 


53 


3 5H 


54 


3 6H 


55 


37H 


56 


3 8H 


57 


3 9H 


58 


3 AH 


59 


3BH 


60 


3CH 


61 


3DH 


62 


3 EH 


63 


3 EH 



64 


40H 


96 


60H 


65 


41H 


97 


61H 


66 


42H 


98 


62H 


67 


43H 


99 


63H 


68 


44H 


100 


64H 


69 


45H 


101 


65H 


70 


46H 


102 


66H 


71 


47H 


103 


67H 


12 


48H 


104 


68H 


73 


49H 


105 


69H 


74 


4AH 


106 


6AH 


75 


4BH 


107 


6BH 


76 


4CH 


108 


6CH 


77 


4DH 


109 


6DH 


78 


4 EH 


110 


6 EH 


79 


4 EH 


111 


6 EH 


80 


50H 


112 


70H 


81 


51H 


113 


71H 


82 


52H 


114 


72H 


83 


53H 


115 


73H 


84 


54H 


116 


74H 


85 


55H 


117 


75H 


86 


56H 


118 


76H 


87 


57H 


119 


77H 


88 


58H 


120 


78H 


89 


59H 


121 


79H 


90 


5AH 


122 


7AH 


91 


5BH 


123 


7BH 


92 


5CH 


124 


7CH 


93 


5DH 


125 


7DH 


94 


5 EH 


126 


7 EH 


95 


5 EH 


127 


7 EH 



* Decimal values such as MIDI channel, bank select, and program change are listed as one 
greater than the values given in the above table. 

* A 7-bit byte can express data in the range of 128 steps. For data where greater precision 
is required, we must use two or more bytes. For example, two hexadecimal numbers aa 
bbH expressing two 7-bit bytes would indicate a value of aa x 128+bb. 

* In the case of values which have a +/- sign, OOH = -64, 40H = +/-0, and 7FH = +63, so 
that the decimal expression would be 64 less than the value given in the above chart. In 
the case of two types, 00 OOH = -8192, 40 OOH = +/-0, and 7F 7FH = +8191. For example, if 
aa bbH were expressed as decimal, this would be aa bbH - 40 OOH = aa x 128+bb - 64 x 
128. 

* Data marked "Use nibbled data" is expressed in hexadecimal in 4-bit units. A value 
expressed as a 2-byte nibble Oa ObH has the value of a x 16+b. 

<Example1> What is the decimal expression of 5AH? 

From the preceding table, 5AH = 90 

<Example2> What is the decimal expression of the value 12 34H given as 
hexadecimal for each 7 bits? 

From the preceding table, since 12H = 18 and 34H = 52 
18 X 128+52 = 2356 

<Example3> What is the decimal expression of the nibbled value OA 03 

09 OD? 

From the preceding table, since OAH = 10, 03H = 3, 09H = 9, ODH = 13 
((10 X 16+3) X 16+9) X 16+13 = 41885 

<Example4> What is the nibbled expression of the decimal value 1258? 



16 ) 1258 

16 ) 78 . . .10 

16 ) 4 . . .14 



Since from the preceding table, = OOH, 4 = 04H, 14 = OEH, 10 = OAH, the result is: 00 04 OE 
OAH. 




238 




JUNO-G_e.book 239^-v 2 00 6^2^133 ^BlB ^1^2^4 4'^ 



MIDI Implementation 



lExamples of Actual MIDI Messages 



<Example1> 92 3E 5F 

9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and 
5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4), 
and velocity 95. 

<Example2> CE 49 

CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14 and 
49H = 73, this is a Program Change message with MIDI CH = 15, program number 74. 

<Example3> EA 00 28 

EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (OOH 
= 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed 
number in which 40 OOH (= 64 x 12+80 = 8192) is 0, so this Pitch Bend Value is 
28 OOH - 40 OOH = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 = -3072 

If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 OOH) will cause the pitch to 
change -200 cents, so in this case -200 x (-3072) + (-8192) = -75 cents of Pitch Bend is being 
applied to MIDI channel 11. 

<Example4> B3 64 00 65 00 06 OC 26 00 64 7F 65 7F 

BnH is the Control Change status, and n is the MIDI channel number. For Control Changes, 
the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or 
more messages consecutive messages have the same status, MIDI has a provision called 
"running status" which allows the status byte of the second and following messages to be 
omitted. Thus, the above messages have the following meaning. 



MIDI ch.4, lower byte of RPN parameter number: OOH 

(MIDI ch.4) upper byte of RPN parameter number: OOH 

(MIDI ch.4) upper byte of parameter value: OCH 

(MIDI ch.4) lower byte of parameter value: OOH 

(MIDI ch.4) lower byte of RPN parameter number: 7FH 

(MIDI ch.4) upper byte of RPN parameter number: 7FH 



In other words, the above messages specify a value of OC OOH for RPN parameter number 

00 OOH on MIDI channel 4, and then set the RPN parameter number to 7F 7FH. 

RPN parameter number 00 OOH is Pitch Bend Sensitivity, and the MSB of the value indicates 
semitone units, so a value of OCH = 12 sets the maximum pitch bend range to +/-12 
semitones (1 octave). (On GS sound generators the LSB of Pitch Bend Sensitivity is ignored, 
but the LSB should be transmitted anyway (with a value of 0) so that operation will be 
correct on any device.) 

Once the parameter number has been specified for RPN or NRPN, all Data Entry messages 
transmitted on that same channel will be valid, so after the desired value has been 
transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents. 

This is the reason for the (B3) 64 7F (B3) 65 7F at the end. 

It is not desirable for performance data (such as Standard MIDI File data) to contain many 
events with running status as given in <Example 4>. This is because if playback is halted 
during the song and then rewound or fast-forwarded, the sequencer may not be able to 
transmit the correct status, and the sound generator will then misinterpret the data. Take 
care to give each event its own status. 

It is also necessary that the RPN or NRPN parameter number setting and the value setting 
be done in the proper order. On some sequencers, events occurring in the same (or 
consecutive) clock may be transmitted in an order different than the order in which they 
were received. For this reason it is a good idea to slightly skew the time of each event (about 

1 tick for TPQN = 96, and about 5 ticks for TPQN = 480). 

* TPQN: Ticks Per Quarter Note 



B3 


64 00 


(83) 


65 00 


(83) 


06 OC 


(83) 


26 00 


(83) 


64 7F 


(83) 


65 7F 



■Example of an Exclusive Message and 
Calculating a Checksum 

Roland Exclusive messages (RQl, DTI) are transmitted with a checksum at the end (before 
F7) to make sure that the message was correctly received. The value of the checksum is 
determined by the address and data (or size) of the transmitted Exclusive message. 

•How to calculate the checksum 

(hexadecimal numbers are indicated by "H") 

The checksum is a value derived by adding the address, size, and checksum itself and 

inverting the lower 7 bits. 

Here's an example of how the checksum is calculated. We will assume that in the Exclusive 

message we are transmitting, the address is aabbccddH and the data or size is eeffH. 

aa + bb + cc + dd + ee + ff = sum 
sum + 128 = quotient ... remainder 
128 - remainder = checksum 

<Example> Setting CHORUS TYPE of PERFORMANCE COMMON to 

DELAY (DT1) 

According to the Parameter Address Map (p. 222), the start address of Temporary 
Performance is 10 00 00 OOH, the offset address of CHORUS at PERFORMANCE COMMON 
is 04 OOH, and the address of CHORUS TYPE is 00 OOH. Therefore the address of CHORUS 
TYPE of PERFORMANCE COMMON is; 



10 00 00 OOH 

04 OOH 

±) 00 OOH 

10 00 04 OOH 



DELAY has the value of 02H. 

So the system exclusive message should be sent is; 



FO 


41 


10 


00 00 15 


12 


10 00 04 00 


02 


77 


F7 


(1) 


(2) 


(3) 


(4) 


(5) 


address 


data 


checksum 


(6) 



(1) Exclusive Status 
(4) Model ID (JUNO-G) 

Then calculate the checksum. 



(2) ID (Roland) 

(5) Command ID (DTI) 



(3) Device ID (17) 
(6) End of Exclusive 



lOH + OOH + 04H + OOH + 02H = 16 + + 4 + + 2 = 22 (sum) 
22 (sum) + 128 = (quotient) ... 22 (remainder) 
checksum = 128 - 22 (remainder) = 106 = 6AH 

This means that FO 41 10 00 00 15 12 10 00 04 00 02 6A F7 is the message should be sent. 




239 




JUNO-G_e.book 240'^-y 2006^2^130 ^BIH ^lS2a$445J- 



MIDI Implementation 



■The Scale Tune Feature (address: 40 1x 40) 

The scale tune feature allows you to finely adjust the individual pitch of the notes from C 
through B. Though the settings are made while working with one octave, the fine 
adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can 
obtain a complete variety of tuning methods other than equal temperament. As examples, 
three possible types of scale setting are explained below. 
* The scale tune value received by the part 1 is used in Patch mode and Piano mode. 

OEqual Temperament 

This method of tuning divides the octave into 12 equal parts. It is currently the most widely 
used form of tuning, especially in occidental music. On the JUNO-G, the default settings for 
the Scale Tune feature produce equal temperament. 

OJust Temperament (Tonic of C) 

The principal triads resound much more beautifully than with equal temperament, but this 
benefit can only be obtained in one key. If transposed, the chords tend to become 
ambiguous. The example given involves settings for a key in which C is the keynote. 

OArabian Scale 

By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for 
ethnic music. For example, the settings introduced below will set the unit to use the Arabian 
Scale. 

Example Settings 

Note name Equal Temperament Just Temperament (Key-tone C) Arabian Scale 
CO 0-6 

C# -8 +45 

DO +4-2 

Eb +16 -12 

E -14 -51 

F -2-8 

F# -10 +43 

GO +2-4 

G# +14 +47 

A -16 

Bb +14 -10 

B -12 -49 

The values in the table are given in cents. Convert these values to hexadecimal, and transmit 

them as Exclusive data. 

For example, to set the tune (C-B) of the Part 1 Arabian Scale, send the following data: 

FO 41 10 42 12 40 11 40 3A 6D 3E 34 OD 38 6B 3C 6F 40 36 OF 76 F7 

■ASCII Code Table 

Patch Name and Performance Name, etc., of MIDI data are described the ASCII 
code in the table below. 



32 


20H 


SP 


33 


21H 


1 


34 


22H 


" 


35 


23H 


# 


36 


24H 


$ 


37 


25H 


% 


38 


26H 


& 


39 


27H 




40 


28H 


( 


41 


29H 


) 


42 


2 AH 


* 


43 


2BH 


+ 


44 


2CH 




45 


2DH 


— 


46 


2 EH 




47 


2FH 


/ 


48 


30H 





49 


31H 


1 


50 


32H 


2 


51 


33H 


3 


52 


34H 


4 


53 


35H 


5 


54 


36H 


6 


55 


37H 


7 


56 


3 8H 


8 


57 


39H 


9 


58 


3 AH 




59 


3BH 


; 


60 


3CH 


< 


61 


3DH 


^ 


62 


3 EH 


> 


63 


3FH 


? 


J. decimal 




H; hexadecimal 




* "SP" is 


space. 





64 
65 



69 

70 



40H 
41H 
42H 
43H 
44H 
45H 
46H 
47H 
48H 
49H 
4 AH 
4BH 
4CH 
4DH 

4 EH 
4FH 
50H 
51H 
52H 
53H 
54H 
55H 
56H 
57H 
58H 
59H 

5 AH 
5BH 
5CH 
5DH 
5 EH 
5FH 



96 


60H 




97 


61H 


a 


98 


62H 


b 


99 


63H 


c 


100 


64H 


d 


101 


65H 


e 


102 


66H 


f 


103 


67H 


g 


104 


68H 


h 


105 


69H 


i 


106 


6AH 


: 


107 


6BH 


k 


108 


6CH 


1 


109 


6DH 


m 


110 


6 EH 


n 


111 


6FH 


o 


112 


70H 


P 


113 


71H 


q 


114 


72H 


r 


115 


73H 


s 


116 


74H 


t 


117 


75H 


u 


118 


76H 


V 


119 


77H 


w 


120 


78H 


X 


121 


79H 


Y 


122 


7AH 




123 


7BH 


{ 


124 


7CH 




125 


7DH 


) 






' 



Bank Select and Program Change 
Correspondence Chart 



Patch 



Group 


Number 


Bank Select 


Program 
Number 


MSB 


LSB 


USER 


001-128 


87 





1-128 


129-256 


87 


1 


1-128 


CARD 


001-128 


87 


32 


1-128 


129-256 


87 


33 


1-128 


PR-A 


001-128 


87 


64 


1-128 


PR-B 


001-128 


87 


65 


1-128 


PR-C 


001-128 


87 


66 


1-128 


PR-D 


001-128 


87 


67 


1-128 


PR-E 


001-128 


87 


68 


1-128 


PR-F 


001-128 


87 


69 


1-128 


GM(2) 


001-256 


121 


0- 


1-128 


EXP (SRX-01) 
(SRX-02) 


001- 
001- 


93 
93 



1 


1- 
1- 



The EXP group vary depending on the Wave Expansion Board you've installed. For 
information about an SRX series board, refer to the Owner's Manual that came with it. 



Rhythm Set 



Group 


Number 


Bank Select 


Program 
Number 


MSB 


LSB 


USER 


001-032 


86 





1-32 


CARD 


001-032 


86 


32 


1-32 


PRST 


001-036 


86 


64 


1-36 


GM(2) 


001-009 


120 




1-57 


EXP (SRX-01) 
(SRX-02) 


001- 
001- 


92 
92 



1 


1- 
1- 



* The EXP group vary depending on the Wave Expansion Board you've installed. For 
information about an SRX series board, refer to the Owner's Manual that came with it. 

Performance 



Group 


Number 


Bank Select 


Program 
Number 


MSB 


LSB 


USER 


01-64 


85 





1-64 


CARD 


01-64 


85 


32 


1-64 


PRST 


01-64 


85 


64 


1-64 



To switch multitimbres, the external MIDI device's transmit channel needs to be 
matched up with the Performance Control Channel (SYSTEM/MIDI/GENERAL) of the 
JUNO-G. 




240 




JUNO-G_e.book 241 '^-y 2 00 6^2^130 ^BIH ^lt2a$4 45j- 



(Sound Generator Section) 

Model juNo-G MIDI Implementation Chart 



Date : Feb. 1 , 2006 
Version : 1 .00 



Function... 


Transmitted 


Recognized 


Remarks 


Basic Default 
Channel Changed 


1-16 
1-16 


1-16 
1-16 


Memorized 


Default 
Mode Messages 
Altered 


Modes 
Mono, Poly 


Modes 

Modes, 4 (M = 1) 


*2 


Note 

Number : True Voice 


0-127 


0-127 
0-127 




Note On 
Velocity Note Off 












After Key's 
Touch Channel's 


X 



*1 
*1 




Pitch Bend 





*1 




0,32 

1 

2 

4 

5 

6, 38 

7 

8 

10 

11 

16 

Control 18 

19 

Change 64 

66 
67 
68 
69 
70 
71 
72 
73 
74 
75 
76 
77 
78 
80 
81 
82 
83 
84 
91 
92 
93 
94 
95 
1-31,64-95 
98, 99 
100, 101 


'1 















































































X 

X 


*1 

-1 









-1 

X 

*1 

*1 

X 

X 

X 

X 

-1 











X 

















(Tone 1 Level 

(Tone 2 Level 

(Tone 3 Level 

Tone 4 Level 



(Reverb) 

(Chorus) 

X 

X 




Bank select 

Modulation 

Breath type *3 

Foot type 

Portamento time 

Data entry 

Volume 

Balance 

Panpot 

Expression 

General purpose controller 1 

General purpose controller 2 

General purpose controller 3 

General purpose controller 4 

Hold 1 

Portamento 

Sostenuto 

Soft 

Legato foot switch 

Hold 2 

Sound variation 

Resonance 

Release time 

Attack time 

Cutoff 

Decay time 

Vibrato rate 

Vibrato depth 

Vibrato delay 

General purpose controller 5 

General purpose controller 6 

General purpose controller 7 

General purpose controller 8 

Portamento control 

General purpose effects 1 

Tremolo 

General purpose effects 3 

Celeste 

Phaser 

Pedal, Knob, D Beam 

NRPN LSB, MSB 

RPN LSB, MSB 


Program 

Change : True Number 


*1 


*1 
0-127 


Program No. 1-128 


System Exclusive 





*1 




„ , : Song Position 

^y^*^"^ : Song Select 
Common -r ■-. 

: Tune Request 


X 
X 
X 


X 
X 
X 




System : Clock 
Real Time : Commands 


X 
X 


X 
X 




Aux 
Messages 


All Sound Off 
Reset All Controllers 
Local On/Off 
All Notes Off 
Active Sensing 
System Reset 


X 

*4 

X 

M 

*1 

X 




X 

(12S-127) 



X 




Notes 


* 1 X is selectable. * 3 Received it as ACTIVE EXPRESSION. 

* 2 Recognized as M=1 even if M/1 . * 4 Transmitted only when V-LINK is ON. 



Mode 1 : OMNI ON, POLY 
Mode 3 : OMNI OFF, POLY 



Mode 2: OMNI ON, MONO 
Mode 4 : OMNI OFF, MONO 



O: Yes 
X:No 




241 




JUNO-G_e.book 242 '^-v 2006^2^130 ^BIH ^lt2a$445j- 



(Song Recorder (MIDI TRACK) Section) 

ModeijuNOG MIDI Implementation Chart 



Date : Feb. 1 , 2006 
Version : 1 .00 



Function... 


Transmitted 


Recognized 


Remarks 


Basic Default 
Channel Changed 


All channel 
X 


All channel 
1-16 


There is no specific 
basic channel. 


Default 
Mode Messages 
Altered 


X 
X 

************** 


X 
X 




Note 

Number : True Voice 


0-127 

************** 


0-127 
0-127 




Note On 
Velocity Note Off